Zine Library of Babel Wiki zinelibraryofbabel https://zinelibraryofbabel.fandom.com/wiki/Zine_Library_of_Babel_Wiki MediaWiki 1.43.1 first-letter Media Special Talk User User talk Zine Library of Babel Wiki Zine Library of Babel Wiki talk File File talk MediaWiki MediaWiki talk Template Template talk Help Help talk Category Category talk Forum Forum talk GeoJson GeoJson talk User blog User blog comment Blog Blog talk Module Module talk Message Wall Thread Message Wall Greeting Board Board Thread Topic Map Map talk 0 2019 3850 2010-09-23T04:52:13Z Default 49312 moved [[Main Page]] to [[Zine Library of Babel Wiki]]:&#32;SEO 3850 wikitext text/x-wiki #REDIRECT [[Zine Library of Babel Wiki]] 2tn5i9hu8rds0eval2wxkppldxcd3ee 0 2079 3889 2010-09-23T05:01:39Z Spritzfellow 3082342 3889 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2112 3924 2010-09-23T05:37:57Z Spritzfellow 3082342 category 3924 wikitext text/x-wiki [[File:Placeholder|right|300px]] suha suha I got you all in check [[Category:painters publishers zinesters crafty magic]] [[Category:zine]] [[Category:craft]] [[Category:recycling]] [[Category:william temple]] [[Category:painters]] [[Category:publishers]] [[Category:distro]] [[Category:crafty]] [[Category:zinester]] [[Category:video artist]] [[Category:pony club]] [[Category:multimedia]] 6z0h1uvp4cjom03xkzf6fxu18m1705w 3925 3924 2010-09-23T05:40:01Z Spritzfellow 3082342 axaxaxas mloe 3925 wikitext text/x-wiki [[File:Placeholder|right|300px]] suha suha I got you all in check [[Third Murderer]] [[Sparkplug Comic Books]] [[2011]] [[art stars]] [[Category:painters publishers zinesters crafty magic]] [[Category:zine]] [[Category:craft]] [[Category:recycling]] [[Category:william temple]] [[Category:painters]] [[Category:publishers]] [[Category:distro]] [[Category:crafty]] [[Category:zinester]] [[Category:video artist]] [[Category:pony club]] [[Category:multimedia]] 37k4hyrv5piocbj6lvtac0wggkgowva 0 2055 3877 2010-09-23T05:00:33Z Spritzfellow 3082342 3877 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2039 3869 2010-09-23T05:00:12Z Spritzfellow 3082342 3869 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2026 3859 2010-09-23T04:59:31Z Spritzfellow 3082342 3859 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2053 3876 2010-09-23T05:00:28Z Spritzfellow 3082342 3876 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2114 3930 2010-09-23T05:45:19Z Spritzfellow 3082342 Roberto Panini 3930 wikitext text/x-wiki [[File:Placeholder|right|300px]] Bobby Madness is a douche burglar [[Category:douche burglars]] [[Category:real madness comixs]] [[Category:comicialdijoasidjgoisjgoisjfg]] [[Category:hlor u fang axaxaxas comix]] if9nu89eju6hmya31f31acfvbf44bwg 3932 3930 2010-09-23T05:48:05Z Spritzfellow 3082342 Bobby Madness 3932 wikitext text/x-wiki [[File:Placeholder|right|300px]] Bobby Madness is a douche burglar Bobby Madness is a douche Bobby loves his L. LaRouche Bobby Madness starts small fires Bobby Madness soon retires --Graffito, 1893 Parisian Sewers [[Category:douche burglars]] [[Category:real madness comixs]] [[Category:comicialdijoasidjgoisjgoisjfg]] [[Category:hlor u fang axaxaxas comix]] kngoxhr4eayv4wts1glrhq2jcehauwy 0 2043 3871 2010-09-23T05:00:13Z Spritzfellow 3082342 3871 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2075 3887 2010-09-23T05:01:34Z Spritzfellow 3082342 3887 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2104 3908 2010-09-23T05:14:42Z Spritzfellow 3082342 churd churdler 3908 wikitext text/x-wiki Churd Churdler Text by Zack Soto The Autobiography of a Churd Churdler as told to Shawn Granton by Jesse Reklaw mmgfm34kpn9m3in0ghnj840vxwju4wr 0 2035 3867 2010-09-23T05:00:12Z Spritzfellow 3082342 3867 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2083 3891 2010-09-23T05:01:39Z Spritzfellow 3082342 3891 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2047 3873 2010-09-23T05:00:23Z Spritzfellow 3082342 3873 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2049 3874 2010-09-23T05:00:23Z Spritzfellow 3082342 3874 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2063 3881 2010-09-23T05:00:43Z Spritzfellow 3082342 3881 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2057 3878 2010-09-23T05:00:33Z Spritzfellow 3082342 3878 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2033 3866 2010-09-23T04:59:57Z Spritzfellow 3082342 3866 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2116 3938 2010-09-23T05:56:43Z Spritzfellow 3082342 [redacted] 3938 wikitext text/x-wiki [[File:Placeholder|right|300px]] [redacted] GFRÖRER: Folklore and legends are irresistible to me, the more gruesome the better. I have an insatiable compulsion to examine the humanity of mythic characters, thinking about what it would be like to live with them if they were real people, because in a way they are real people--we love them because they are part of us. Chrétien de Troyes said that the best part of the story is the part that's kept from us, and for a storyteller that's probably a wise policy, but I can't resist pursuing parts that might be better left unshown. I want to draw the snot-dripping tears and everything else because I love to read those parts. [redacted] GFRÖRER: There's a part in The Once and Future King where T. H. White eloquently compares the so-called Dark Ages to his present day and concludes, "Do you think that they, with their Battles, Famine, Black Death and Serfdom, were less enlightened than we are, with our Wars, Blockade, Influenza and Conscription? Even if they were foolish enough to believe that the earth was the centre of the universe, do we not ourselves believe that man is the fine flower of creation? If it takes a million years for a fish to become a reptile, has Man, in our few hundred, altered out of recognition?" This quote was at the top of my artist's statement for a long time. It was a revelation to me when I began to read books from antiquity to discover that our ancestors had senses of humor, that the only reason their jokes sound lame is because they lose their sparkle in translation. No, I don't think we've changed at all. Even the differences between you and me and a couple of Lascaux cave painters are pretty minor, really. [redacted] GFRÖRER: The instinct is to find people who are like us, or to make people who are like us, and art is a tool to create that sense of communion. A stranger who likes the same song you like understands something secret about you--the person who wrote it understands you both--and if you want your friend to understand you in the same way, you play the song for her. Like in the famous scene from Dante’s Inferno, where Francesca explains how she and Paolo fell in love: they were reading about Lancelot together, and the story moved them both at once, that spark of communion was all it took. That feeling is magical and addictive. I think it's the reason people go to concerts. At least, it's the reason I go to concerts. [redacted] GFRÖRER: Through art is the main way I relate to people: all of my friends are artists now, drawing is all I think about, my husband and I start making comics together as soon as I get home from work. I can hardly think of any connections in my life that aren't founded in a mutual appreciation of visual art. But I don't seem to form that Paolo and Francesca spark through my own work, which is a shame, because people--wonderful people! Fans, you are my favorite people--want to make that connection by talking about me with me. Until we can talk about some other artist, removed from us both: Harry Clarke, Wilfred Owen, Frank Zappa, I don't feel that sense of unity. I feel like a fish being eaten by another fish. [redacted] GFRÖRER: My mother likes to say that "Mister Rogers Syndrome" runs in our family, meaning that we tend to burst into extemporaneous song. Other than the humble ballads over breakfast I am tragically bereft of musical talent. I play the Theremin but only as a hobby, I don't perform. I love to draw but like most artists I find my work perpetually lacking. I like to tell stories orally, preferably a little drunk. My favorite way to express my ideas is in long boring monologues delivered to unsuspecting bystanders. I would make a terrific docent. [redacted] GFRÖRER: Yes, it's meant to allude to the man (Jadwiga wryly calls him Handsome, but in my head I was calling him Onan) and Anabel: he's the flesh and she's the bone. Bones also appear a lot in the book, Jadwiga's house is decorated with them because of her liminality. LEIVIAN: Death is a theme that shows up in most of your comics. Sometimes the dead can still speak and move around. How do you explore death symbolically and philosophically in your comics? And what are your personal beliefs or theories regarding the "afterdeath"? GFRÖRER: I have a morbid fascination with the indignity inherent in being alive, the reality that our bodies are so demanding and that they are constantly, continuously betraying us, getting in the way of all the really meaningful things we could be doing instead, yet occasionally communicating nobility with their involuntary actions. Death, then, represents freedom from bodily abjection--death confers dignity, power, independence. The Ghost of Julia in ‘Ariadne auf Naxos’ is gleefully selfish and chaotic, shirking responsibilities and causing mischief, where the living Julia is always worrying, always trying to help and mend. And after death there is nothing more to fear: no shame, no anxiety, no doubt. Death and pain tend to be desirable states in my stories. To my chagrin, no one with firsthand experience has yet described the afterlife to me, so I'm more or less content not to know and accept the futility of wondering what it's like to actually be dead. LEIVIAN: By contrasting the living Julia with the ghost Julia it seems that death can be a teacher. I love paradoxes like this where we can identify with our opposite or everything that we are not. Do you also embrace paradoxes and mystery? GFRÖRER: I was raised by a Jungian psychoanalyst and I learned my fundamental methods of perceiving from her, so it's accurate to say that I'm preoccupied with obtaining guidance from hidden realms, from shadows or mirrors. I love stories where the characters confront their opposites, like in the Neverending Story, or where they embody conflicting ideas, like Lancelot on the grail quest. I'm such a shameless navel-gazer, and I pursue negative emotions more than positive ones, I'm like a spelunker in the inner caverns, I like to chew on all my certainties until doubt reveals itself because precariousness is the natural state of things. Do I embrace mystery? I insist upon it. LEIVIAN: I recently lost my two cats to kidney failure. The doctors compassionately described euthanasia as a permanent end to pain and suffering. Metaphysically I think death may feel like the ultimate facepalm. A strong sense of déjà vu, followed by “of course!” Then entropy as all of your information is dispersed. GFRÖRER: I'm sorry about your cats. Do you think death means a transcendence of reality as we experience it now? Self-transforming machine elves unlock the vomitoria of the theater of false perceptions? I would prefer to believe that consciousness dissipates after death, but nothing we know about the universe indicates that this is so: nothing is bounded, nothing really ends, security and finality and the boundaries between things exist by consensus only. I'm looking at the Wikipedia article for "universe" as I write this and when the page loaded with an image at the top, as most Wikipedia pages do, I felt like I would faint. It's a sort of mottled blue oval. How vulgar! LEIVIAN: There are also elements of magic and religion in the story. The man fears god and damnation, while Jadwiga’s witchcraft seems authentically pagan. Are these subjects of interest to you? GFRÖRER: Well, let me first profess my ignorance of authentic paganism--the occultism you see being practiced in my book is mostly based on medieval Christian ideas about the kinds of things a witch or sorcerer might do. I'm extremely interested in historical Christianity. And for the record, I'm an inveterate atheist. LEIVIAN: I know a little about the mandrake root from the Paul Verhoeven movie, Flesh and Blood, which shares a similar title and archaic quality to your story. Tell me if this is right: sometimes when a man is hung from a tree they will ejaculate into the soil below and then a mandrake root will grow from that spot? GFRÖRER: Oh no. I had no idea there was such a movie. Paul Verhoeven? Really? Goddamn it. But that's my understanding of the mandrake myth, yes, that semen from a hanged man would sprout this little man-shaped screaming plant. I've also read that sex with a mandrake root produces a baby with no soul and no emotions, and that you can carve the root into a little person that will be your slave, and that you can make a balm with the mandrake that you rub on your legs and feet to feel as if you're flying. It's a panacea among the root vegetables. Beat that, parsnips. LEIVIAN: I think you might like the film. It’s very archaic. So when Jadwiga is talking to the demon, Buer, about the mandrake that’s why he calls it a “baby”. Why is a mandrake so special to her? Or what does it symbolize? GFRÖRER: He's referring to the baby Jadwiga might conceive from sex with the mandrake. In a sense Onan would be its father, part of him would live on after he's dead. LEIVIAN: Is there value to a baby without a soul? Does she simply desire a slave to help her with her work? GFRÖRER: There are a lot of things a witch could use a soulless baby for. Probably we can infer from the story that Jadwiga is a little lonely. Possibly, given Buer's impatience with emotional people, she would consider soullessness an advantage. LEIVIAN: Jadwiga has a romantic outlook when she says that “their love may brighten the world of the dead.” But Buer has a more mundane view. He refers to love as “an addictive delusion”, “a trick done with mirrors”, “a distraction”. Why do you think these characters have such different views of love? GFRÖRER: Buer is an intensely logical person (actually a President of Hell and a teacher of logic and philosophy) and his view of love is purely pragmatic. You could argue that from an evolutionary standpoint love is pragmatic, but Buer is indifferent to its spiritual value, so to him it's all song and dance. Jadwiga isn’t necessarily a romantic, but because she likes Onan she's willing to entertain the idea. LEIVIAN: What an interesting character. Do you know if was he a president of Hell first and then he decided to teach logic and philosophy? Or was he a teacher first and then ended up in Hell? I wonder what the connection is. GFRÖRER: I only know of Buer from a few medieval demonology texts which don't explain his origin, but I think he must be a native of hell rather than the spirit of someone dead, since demons of Christianity are usually fallen angels. He also teaches herbology and provides familiars. Some old grimoires imply that a demon exists to teach any subject or perform any task, and it remains only to perform the necessary ritual to summon and command that demon. There are a lot of teachers down there, an infernal university. LEIVIAN: Thanks for taking the time to do this interview. It's always a pleasure to talk with others who are interested in more esoteric subjects. What comics or other projects are you working on next? GFRÖRER: Thanks, Jason, this has been fun. At the moment my husband and I are frantically finishing up a couple of new zines for the Portland Zine Symposium, which as of this writing is less than a week away. We did one about our heroes, which he wrote and I illustrated, and another about Wolverine (and to a lesser extent the other X Men and the rest of the Marvel universe) which is mostly comics written and drawn by both of us. I recently finished a third issue of Ariadne auf Naxos, which is being published by Teenage Dinosaur and should be available at the Symposium as well. And I am glacially thumbnailing a couple of shorter comics which also deal with the idea of sex with ghosts. I have no idea what I'll do with them when I finish them but I can't stop writing them. 8tz4fhg6uduzdr1t343m64vyx6tcdgl 3939 3938 2010-09-23T05:58:08Z Spritzfellow 3082342 [redacted] 3939 wikitext text/x-wiki [[File:Placeholder|right|300px]] [redacted] GFRÖRER: Folklore and legends are irresistible to me, the more gruesome the better. I have an insatiable compulsion to examine the humanity of mythic characters, thinking about what it would be like to live with them if they were real people, because in a way they are real people--we love them because they are part of us. Chrétien de Troyes said that the best part of the story is the part that's kept from us, and for a storyteller that's probably a wise policy, but I can't resist pursuing parts that might be better left unshown. I want to draw the snot-dripping tears and everything else because I love to read those parts. [redacted] GFRÖRER: There's a part in The Once and Future King where T. H. White eloquently compares the so-called Dark Ages to his present day and concludes, "Do you think that they, with their Battles, Famine, Black Death and Serfdom, were less enlightened than we are, with our Wars, Blockade, Influenza and Conscription? Even if they were foolish enough to believe that the earth was the centre of the universe, do we not ourselves believe that man is the fine flower of creation? If it takes a million years for a fish to become a reptile, has Man, in our few hundred, altered out of recognition?" This quote was at the top of my artist's statement for a long time. It was a revelation to me when I began to read books from antiquity to discover that our ancestors had senses of humor, that the only reason their jokes sound lame is because they lose their sparkle in translation. No, I don't think we've changed at all. Even the differences between you and me and a couple of Lascaux cave painters are pretty minor, really. [redacted] GFRÖRER: The instinct is to find people who are like us, or to make people who are like us, and art is a tool to create that sense of communion. A stranger who likes the same song you like understands something secret about you--the person who wrote it understands you both--and if you want your friend to understand you in the same way, you play the song for her. Like in the famous scene from Dante’s Inferno, where Francesca explains how she and Paolo fell in love: they were reading about Lancelot together, and the story moved them both at once, that spark of communion was all it took. That feeling is magical and addictive. I think it's the reason people go to concerts. At least, it's the reason I go to concerts. [redacted] GFRÖRER: Through art is the main way I relate to people: all of my friends are artists now, drawing is all I think about, my husband and I start making comics together as soon as I get home from work. I can hardly think of any connections in my life that aren't founded in a mutual appreciation of visual art. But I don't seem to form that Paolo and Francesca spark through my own work, which is a shame, because people--wonderful people! Fans, you are my favorite people--want to make that connection by talking about me with me. Until we can talk about some other artist, removed from us both: Harry Clarke, Wilfred Owen, Frank Zappa, I don't feel that sense of unity. I feel like a fish being eaten by another fish. [redacted] GFRÖRER: My mother likes to say that "Mister Rogers Syndrome" runs in our family, meaning that we tend to burst into extemporaneous song. Other than the humble ballads over breakfast I am tragically bereft of musical talent. I play the Theremin but only as a hobby, I don't perform. I love to draw but like most artists I find my work perpetually lacking. I like to tell stories orally, preferably a little drunk. My favorite way to express my ideas is in long boring monologues delivered to unsuspecting bystanders. I would make a terrific docent. [redacted] GFRÖRER: Yes, it's meant to allude to the man (Jadwiga wryly calls him Handsome, but in my head I was calling him Onan) and Anabel: he's the flesh and she's the bone. Bones also appear a lot in the book, Jadwiga's house is decorated with them because of her liminality. LEIVIAN: Death is a theme that shows up in most of your comics. Sometimes the dead can still speak and move around. How do you explore death symbolically and philosophically in your comics? And what are your personal beliefs or theories regarding the "afterdeath"? GFRÖRER: I have a morbid fascination with the indignity inherent in being alive, the reality that our bodies are so demanding and that they are constantly, continuously betraying us, getting in the way of all the really meaningful things we could be doing instead, yet occasionally communicating nobility with their involuntary actions. Death, then, represents freedom from bodily abjection--death confers dignity, power, independence. The Ghost of Julia in ‘Ariadne auf Naxos’ is gleefully selfish and chaotic, shirking responsibilities and causing mischief, where the living Julia is always worrying, always trying to help and mend. And after death there is nothing more to fear: no shame, no anxiety, no doubt. Death and pain tend to be desirable states in my stories. To my chagrin, no one with firsthand experience has yet described the afterlife to me, so I'm more or less content not to know and accept the futility of wondering what it's like to actually be dead. LEIVIAN: By contrasting the living Julia with the ghost Julia it seems that death can be a teacher. I love paradoxes like this where we can identify with our opposite or everything that we are not. Do you also embrace paradoxes and mystery? GFRÖRER: I was raised by a Jungian psychoanalyst and I learned my fundamental methods of perceiving from her, so it's accurate to say that I'm preoccupied with obtaining guidance from hidden realms, from shadows or mirrors. I love stories where the characters confront their opposites, like in the Neverending Story, or where they embody conflicting ideas, like Lancelot on the grail quest. I'm such a shameless navel-gazer, and I pursue negative emotions more than positive ones, I'm like a spelunker in the inner caverns, I like to chew on all my certainties until doubt reveals itself because precariousness is the natural state of things. Do I embrace mystery? I insist upon it. LEIVIAN: I recently lost my two cats to kidney failure. The doctors compassionately described euthanasia as a permanent end to pain and suffering. Metaphysically I think death may feel like the ultimate facepalm. A strong sense of déjà vu, followed by “of course!” Then entropy as all of your information is dispersed. GFRÖRER: I'm sorry about your cats. Do you think death means a transcendence of reality as we experience it now? Self-transforming machine elves unlock the vomitoria of the theater of false perceptions? I would prefer to believe that consciousness dissipates after death, but nothing we know about the universe indicates that this is so: nothing is bounded, nothing really ends, security and finality and the boundaries between things exist by consensus only. I'm looking at the Wikipedia article for "universe" as I write this and when the page loaded with an image at the top, as most Wikipedia pages do, I felt like I would faint. It's a sort of mottled blue oval. How vulgar! LEIVIAN: There are also elements of magic and religion in the story. The man fears god and damnation, while Jadwiga’s witchcraft seems authentically pagan. Are these subjects of interest to you? GFRÖRER: Well, let me first profess my ignorance of authentic paganism--the occultism you see being practiced in my book is mostly based on medieval Christian ideas about the kinds of things a witch or sorcerer might do. I'm extremely interested in historical Christianity. And for the record, I'm an inveterate atheist. LEIVIAN: I know a little about the mandrake root from the Paul Verhoeven movie, Flesh and Blood, which shares a similar title and archaic quality to your story. Tell me if this is right: sometimes when a man is hung from a tree they will ejaculate into the soil below and then a mandrake root will grow from that spot? GFRÖRER: Oh no. I had no idea there was such a movie. Paul Verhoeven? Really? Goddamn it. But that's my understanding of the mandrake myth, yes, that semen from a hanged man would sprout this little man-shaped screaming plant. I've also read that sex with a mandrake root produces a baby with no soul and no emotions, and that you can carve the root into a little person that will be your slave, and that you can make a balm with the mandrake that you rub on your legs and feet to feel as if you're flying. It's a panacea among the root vegetables. Beat that, parsnips. REDACTED GFRÖRER: He's referring to the baby Jadwiga might conceive from sex with the mandrake. In a sense Onan would be its father, part of him would live on after he's dead. REDACTED GFRÖRER: There are a lot of things a witch could use a soulless baby for. Probably we can infer from the story that Jadwiga is a little lonely. Possibly, given Buer's impatience with emotional people, she would consider soullessness an advantage. REDACTED GFRÖRER: Buer is an intensely logical person (actually a President of Hell and a teacher of logic and philosophy) and his view of love is purely pragmatic. You could argue that from an evolutionary standpoint love is pragmatic, but Buer is indifferent to its spiritual value, so to him it's all song and dance. Jadwiga isn’t necessarily a romantic, but because she likes Onan she's willing to entertain the idea. Redacted GFRÖRER: I only know of Buer from REDACTED, but I think he must be a native of hell rather than the spirit of someone dead, since demons of Christianity are usually fallen angels. He also teaches herbology and provides familiars. Some old grimoires imply that a demon exists to teach any subject or perform any task, and it remains only to perform the necessary ritual to summon and command that demon. There are a lot of teachers down there, an infernal university. Redacted GFRÖRER: Thanks, Jason, this has been fun. At the moment my husband and I are frantically finishing up a couple of new zines for the Portland Zine Symposium, which as of this writing is less than a week away. We did one about our heroes, which he wrote and I illustrated, and another about Wolverine (and to a lesser extent the other X Men and the rest of the Marvel universe) which is mostly comics written and drawn by both of us. I recently finished a third issue of Ariadne auf Naxos, which is being published by Teenage Dinosaur and should be available at the Symposium as well. And I am glacially thumbnailing a couple of shorter comics which also deal with the idea of sex with ghosts. I have no idea what I'll do with them when I finish them but I can't stop writing them. ndyq5bq6m6k8uskdnh2o7mbg1s1fozy 3940 3939 2010-09-23T05:59:54Z Spritzfellow 3082342 dylan walliams spakplug comics book 3940 wikitext text/x-wiki [[File:Placeholder|right|300px]] [redacted] GFRÖRER: Folklore and legends are irresistible to me, the more gruesome the better. I have an insatiable compulsion to examine the humanity of mythic characters, thinking about what it would be like to live with them if they were real people, because in a way they are real people--we love them because they are part of us. Chrétien de Troyes said that the best part of the story is the part that's kept from us, and for a storyteller that's probably a wise policy, but I can't resist pursuing parts that might be better left unshown. I want to draw the snot-dripping tears and everything else because I love to read those parts. [redacted] GFRÖRER: There's a part in The Once and Future King where T. H. White eloquently compares the so-called Dark Ages to his present day and concludes, "Do you think that they, with their Battles, Famine, Black Death and Serfdom, were less enlightened than we are, with our Wars, Blockade, Influenza and Conscription? Even if they were foolish enough to believe that the earth was the centre of the universe, do we not ourselves believe that man is the fine flower of creation? If it takes a million years for a fish to become a reptile, has Man, in our few hundred, altered out of recognition?" This quote was at the top of my artist's statement for a long time. It was a revelation to me when I began to read books from antiquity to discover that our ancestors had senses of humor, that the only reason their jokes sound lame is because they lose their sparkle in translation. No, I don't think we've changed at all. Even the differences between you and me and a couple of Lascaux cave painters are pretty minor, really. [redacted] GFRÖRER: The instinct is to find people who are like us, or to make people who are like us, and art is a tool to create that sense of communion. A stranger who likes the same song you like understands something secret about you--the person who wrote it understands you both--and if you want your friend to understand you in the same way, you play the song for her. Like in the famous scene from Dante’s Inferno, where Francesca explains how she and Paolo fell in love: they were reading about Lancelot together, and the story moved them both at once, that spark of communion was all it took. That feeling is magical and addictive. I think it's the reason people go to concerts. At least, it's the reason I go to concerts. [redacted] GFRÖRER: Through art is the main way I relate to people: all of my friends are artists now, drawing is all I think about, my husband and I start making comics together as soon as I get home from work. I can hardly think of any connections in my life that aren't founded in a mutual appreciation of visual art. But I don't seem to form that Paolo and Francesca spark through my own work, which is a shame, because people--wonderful people! Fans, you are my favorite people--want to make that connection by talking about me with me. Until we can talk about some other artist, removed from us both: Harry Clarke, Wilfred Owen, Frank Zappa, I don't feel that sense of unity. I feel like a fish being eaten by another fish. [redacted] GFRÖRER: My mother likes to say that "Mister Rogers Syndrome" runs in our family, meaning that we tend to burst into extemporaneous song. Other than the humble ballads over breakfast I am tragically bereft of musical talent. I play the Theremin but only as a hobby, I don't perform. I love to draw but like most artists I find my work perpetually lacking. I like to tell stories orally, preferably a little drunk. My favorite way to express my ideas is in long boring monologues delivered to unsuspecting bystanders. I would make a terrific docent. [redacted] GFRÖRER: Yes, it's meant to allude to the man (Jadwiga wryly calls him Handsome, but in my head I was calling him Onan) and Anabel: he's the flesh and she's the bone. Bones also appear a lot in the book, Jadwiga's house is decorated with them because of her liminality. [predacted] GFRÖRER: I have a morbid fascination with the indignity inherent in being alive, the reality that our bodies are so demanding and that they are constantly, continuously betraying us, getting in the way of all the really meaningful things we could be doing instead, yet occasionally communicating nobility with their involuntary actions. Death, then, represents freedom from bodily abjection--death confers dignity, power, independence. The Ghost of Julia in ‘Ariadne auf Naxos’ is gleefully selfish and chaotic, shirking responsibilities and causing mischief, where the living Julia is always worrying, always trying to help and mend. And after death there is nothing more to fear: no shame, no anxiety, no doubt. Death and pain tend to be desirable states in my stories. To my chagrin, no one with firsthand experience has yet described the afterlife to me, so I'm more or less content not to know and accept the futility of wondering what it's like to actually be dead. [predacted] GFRÖRER: I was raised by a Jungian psychoanalyst and I learned my fundamental methods of perceiving from her, so it's accurate to say that I'm preoccupied with obtaining guidance from hidden realms, from shadows or mirrors. I love stories where the characters confront their opposites, like in the Neverending Story, or where they embody conflicting ideas, like Lancelot on the grail quest. I'm such a shameless navel-gazer, and I pursue negative emotions more than positive ones, I'm like a spelunker in the inner caverns, I like to chew on all my certainties until doubt reveals itself because precariousness is the natural state of things. Do I embrace mystery? I insist upon it. [predacted] GFRÖRER: I'm sorry about your cats. Do you think death means a transcendence of reality as we experience it now? Self-transforming machine elves unlock the vomitoria of the theater of false perceptions? I would prefer to believe that consciousness dissipates after death, but nothing we know about the universe indicates that this is so: nothing is bounded, nothing really ends, security and finality and the boundaries between things exist by consensus only. I'm looking at the Wikipedia article for "universe" as I write this and when the page loaded with an image at the top, as most Wikipedia pages do, I felt like I would faint. It's a sort of mottled blue oval. How vulgar! [predacted] story. The man fears god and damnation, while Jadwiga’s witchcraft seems authentically pagan. Are these subjects of interest to you? GFRÖRER: Well, let me first profess my ignorance of authentic paganism--the occultism you see being practiced in my book is mostly based on medieval Christian ideas about the kinds of things a witch or sorcerer might do. I'm extremely interested in historical Christianity. And for the record, redacted GFRÖRER: Oh no. I had no idea there was such a movie. Paul Verhoeven? Really? Goddamn it. But that's my understanding of the mandrake myth, yes, that semen from a hanged man would sprout this little man-shaped screaming plant. I've also read that sex with a mandrake root produces a baby with no soul and no emotions, and that you can carve the root into a little person that will be your slave, and that you can make a balm with the mandrake that you rub on your legs and feet to feel as if you're flying. It's a panacea among the [redacted] parsnips. REDACTED GFRÖRER: He's referring to the baby Jadwiga might conceive from sex with the mandrake. In a sense Onan would be its father, part of him would live on after he's dead. REDACTED GFRÖRER: There are a lot of things a witch could use a soulless baby for. Probably we can infer from the story that Jadwiga is a little lonely. Possibly, given Buer's impatience with emotional people, she would consider soullessness an advantage. REDACTED GFRÖRER: Buer is an intensely logical person (actually a President of Hell and a teacher of logic and philosophy) and his view of love is purely pragmatic. You could argue that from an evolutionary standpoint love is pragmatic, but Buer is indifferent to its spiritual value, so to him it's all song and dance. Jadwiga isn’t necessarily a romantic, but because she likes Onan she's willing to entertain the idea. Redacted GFRÖRER: I only know of Buer from REDACTED, but I think he must be a native of hell rather than the spirit of someone dead, since demons of Christianity are usually fallen angels. He also teaches herbology and provides familiars. Some old grimoires imply that a demon exists to teach any subject or perform any task, and it remains only to perform the necessary ritual to summon and command that demon. There are a lot of teachers down there, an infernal university. Redacted GFRÖRER: Thanks, Jason, this has been fun. At the moment my husband and I are frantically finishing up a couple of new zines for the Portland Zine Symposium, which as of this writing is less than a week away. We did one about our heroes, which he wrote and I illustrated, and another about Wolverine (and to a lesser extent the other X Men and the rest of the Marvel universe) which is mostly comics written and drawn by both of us. I recently finished a third issue of Ariadne auf Naxos, which is being published by Teenage Dinosaur and should be available at the Symposium as well. And I am glacially thumbnailing a couple of shorter comics which also deal with the idea of sex with ghosts. I have no idea what I'll do with them when I finish them but I can't stop writing them. [[Category:Flesh and Bone]] [[Category:Julia Gfroerer]] [[Category:Dylan Walliams]] rffojsmhtw2uckiljhvqcxcj0aqp9ls 3941 3940 2010-09-23T06:00:24Z Spritzfellow 3082342 File added via image placeholder 3941 wikitext text/x-wiki [[File:Doomsday.jpg|thumb|364px|right|Gfroerer relaxes at home]] [redacted] GFRÖRER: Folklore and legends are irresistible to me, the more gruesome the better. I have an insatiable compulsion to examine the humanity of mythic characters, thinking about what it would be like to live with them if they were real people, because in a way they are real people--we love them because they are part of us. Chrétien de Troyes said that the best part of the story is the part that's kept from us, and for a storyteller that's probably a wise policy, but I can't resist pursuing parts that might be better left unshown. I want to draw the snot-dripping tears and everything else because I love to read those parts. [redacted] GFRÖRER: There's a part in The Once and Future King where T. H. White eloquently compares the so-called Dark Ages to his present day and concludes, "Do you think that they, with their Battles, Famine, Black Death and Serfdom, were less enlightened than we are, with our Wars, Blockade, Influenza and Conscription? Even if they were foolish enough to believe that the earth was the centre of the universe, do we not ourselves believe that man is the fine flower of creation? If it takes a million years for a fish to become a reptile, has Man, in our few hundred, altered out of recognition?" This quote was at the top of my artist's statement for a long time. It was a revelation to me when I began to read books from antiquity to discover that our ancestors had senses of humor, that the only reason their jokes sound lame is because they lose their sparkle in translation. No, I don't think we've changed at all. Even the differences between you and me and a couple of Lascaux cave painters are pretty minor, really. [redacted] GFRÖRER: The instinct is to find people who are like us, or to make people who are like us, and art is a tool to create that sense of communion. A stranger who likes the same song you like understands something secret about you--the person who wrote it understands you both--and if you want your friend to understand you in the same way, you play the song for her. Like in the famous scene from Dante’s Inferno, where Francesca explains how she and Paolo fell in love: they were reading about Lancelot together, and the story moved them both at once, that spark of communion was all it took. That feeling is magical and addictive. I think it's the reason people go to concerts. At least, it's the reason I go to concerts. [redacted] GFRÖRER: Through art is the main way I relate to people: all of my friends are artists now, drawing is all I think about, my husband and I start making comics together as soon as I get home from work. I can hardly think of any connections in my life that aren't founded in a mutual appreciation of visual art. But I don't seem to form that Paolo and Francesca spark through my own work, which is a shame, because people--wonderful people! Fans, you are my favorite people--want to make that connection by talking about me with me. Until we can talk about some other artist, removed from us both: Harry Clarke, Wilfred Owen, Frank Zappa, I don't feel that sense of unity. I feel like a fish being eaten by another fish. [redacted] GFRÖRER: My mother likes to say that "Mister Rogers Syndrome" runs in our family, meaning that we tend to burst into extemporaneous song. Other than the humble ballads over breakfast I am tragically bereft of musical talent. I play the Theremin but only as a hobby, I don't perform. I love to draw but like most artists I find my work perpetually lacking. I like to tell stories orally, preferably a little drunk. My favorite way to express my ideas is in long boring monologues delivered to unsuspecting bystanders. I would make a terrific docent. [redacted] GFRÖRER: Yes, it's meant to allude to the man (Jadwiga wryly calls him Handsome, but in my head I was calling him Onan) and Anabel: he's the flesh and she's the bone. Bones also appear a lot in the book, Jadwiga's house is decorated with them because of her liminality. [predacted] GFRÖRER: I have a morbid fascination with the indignity inherent in being alive, the reality that our bodies are so demanding and that they are constantly, continuously betraying us, getting in the way of all the really meaningful things we could be doing instead, yet occasionally communicating nobility with their involuntary actions. Death, then, represents freedom from bodily abjection--death confers dignity, power, independence. The Ghost of Julia in ‘Ariadne auf Naxos’ is gleefully selfish and chaotic, shirking responsibilities and causing mischief, where the living Julia is always worrying, always trying to help and mend. And after death there is nothing more to fear: no shame, no anxiety, no doubt. Death and pain tend to be desirable states in my stories. To my chagrin, no one with firsthand experience has yet described the afterlife to me, so I'm more or less content not to know and accept the futility of wondering what it's like to actually be dead. [predacted] GFRÖRER: I was raised by a Jungian psychoanalyst and I learned my fundamental methods of perceiving from her, so it's accurate to say that I'm preoccupied with obtaining guidance from hidden realms, from shadows or mirrors. I love stories where the characters confront their opposites, like in the Neverending Story, or where they embody conflicting ideas, like Lancelot on the grail quest. I'm such a shameless navel-gazer, and I pursue negative emotions more than positive ones, I'm like a spelunker in the inner caverns, I like to chew on all my certainties until doubt reveals itself because precariousness is the natural state of things. Do I embrace mystery? I insist upon it. [predacted] GFRÖRER: I'm sorry about your cats. Do you think death means a transcendence of reality as we experience it now? Self-transforming machine elves unlock the vomitoria of the theater of false perceptions? I would prefer to believe that consciousness dissipates after death, but nothing we know about the universe indicates that this is so: nothing is bounded, nothing really ends, security and finality and the boundaries between things exist by consensus only. I'm looking at the Wikipedia article for "universe" as I write this and when the page loaded with an image at the top, as most Wikipedia pages do, I felt like I would faint. It's a sort of mottled blue oval. How vulgar! [predacted] story. The man fears god and damnation, while Jadwiga’s witchcraft seems authentically pagan. Are these subjects of interest to you? GFRÖRER: Well, let me first profess my ignorance of authentic paganism--the occultism you see being practiced in my book is mostly based on medieval Christian ideas about the kinds of things a witch or sorcerer might do. I'm extremely interested in historical Christianity. And for the record, redacted GFRÖRER: Oh no. I had no idea there was such a movie. Paul Verhoeven? Really? Goddamn it. But that's my understanding of the mandrake myth, yes, that semen from a hanged man would sprout this little man-shaped screaming plant. I've also read that sex with a mandrake root produces a baby with no soul and no emotions, and that you can carve the root into a little person that will be your slave, and that you can make a balm with the mandrake that you rub on your legs and feet to feel as if you're flying. It's a panacea among the [redacted] parsnips. REDACTED GFRÖRER: He's referring to the baby Jadwiga might conceive from sex with the mandrake. In a sense Onan would be its father, part of him would live on after he's dead. REDACTED GFRÖRER: There are a lot of things a witch could use a soulless baby for. Probably we can infer from the story that Jadwiga is a little lonely. Possibly, given Buer's impatience with emotional people, she would consider soullessness an advantage. REDACTED GFRÖRER: Buer is an intensely logical person (actually a President of Hell and a teacher of logic and philosophy) and his view of love is purely pragmatic. You could argue that from an evolutionary standpoint love is pragmatic, but Buer is indifferent to its spiritual value, so to him it's all song and dance. Jadwiga isn’t necessarily a romantic, but because she likes Onan she's willing to entertain the idea. Redacted GFRÖRER: I only know of Buer from REDACTED, but I think he must be a native of hell rather than the spirit of someone dead, since demons of Christianity are usually fallen angels. He also teaches herbology and provides familiars. Some old grimoires imply that a demon exists to teach any subject or perform any task, and it remains only to perform the necessary ritual to summon and command that demon. There are a lot of teachers down there, an infernal university. Redacted GFRÖRER: Thanks, Jason, this has been fun. At the moment my husband and I are frantically finishing up a couple of new zines for the Portland Zine Symposium, which as of this writing is less than a week away. We did one about our heroes, which he wrote and I illustrated, and another about Wolverine (and to a lesser extent the other X Men and the rest of the Marvel universe) which is mostly comics written and drawn by both of us. I recently finished a third issue of Ariadne auf Naxos, which is being published by Teenage Dinosaur and should be available at the Symposium as well. And I am glacially thumbnailing a couple of shorter comics which also deal with the idea of sex with ghosts. I have no idea what I'll do with them when I finish them but I can't stop writing them. [[Category:Flesh and Bone]] [[Category:Julia Gfroerer]] [[Category:Dylan Walliams]] g3gyc2e3tbjftxxvzeyb63i5o2s98t7 3942 3941 2010-09-23T06:03:23Z Spritzfellow 3082342 willin' dilliams 3942 wikitext text/x-wiki [[File:Doomsday.jpg|thumb|364px|right|Gfroerer relaxes at home]] [redacted] GFRÖRER: Folklore and legends are irresistible to me, the more gruesome the better. I have an insatiable compulsion to examine the humanity of mythic characters, thinking about what it would be like to live with them if they were real people, because in a way they are real people--we love them because they are part of us. [redacted] said that the best part of the story is the part that's kept from us, and for a storyteller that's probably a wise policy, but I can't resist pursuing parts that might be better left unshown. I want to draw the snot-dripping tears and everything else because I love to read those parts. [redacted] '''GFRÖRER: There's a part in [redacted] where [redacted] eloquently compares the so-called Dark Ages to his present day and concludes,''' ==='''"Do you think that they, with their Battles, Famine, Black Death and Serfdom, were less enlightened than we are, with our Wars, Blockade, Influenza and Conscription? Even if they were foolish enough to believe that the earth was the centre of the universe, do we not ourselves believe that man is the fine flower of creation? If it takes a million years for a fish to become a reptile, has Man, in our few hundred, altered out of recognition?"''' This quote was at the top of my artist's statement for a long time. It was a revelation to me when I began to read books from antiquity to discover that our ancestors had senses of humor, that the only reason their jokes sound lame is because they lose their sparkle in translation. No, I don't think we've changed at all. Even the differences between you and me and a couple of Lascaux cave painters are pretty minor, really.=== [redacted] GFRÖRER: The instinct is to find people who are like us, or to make people who are like us, and art is a tool to create that sense of communion. A stranger who likes the same song you like understands something secret about you--the person who wrote it understands you both--and if you want your friend to understand you in the same way, you play the song for her. Like in the famous scene from [redacted], where [redacted] explains how she and [redacted] fell in love: they were reading about [redacted] together, and the story moved them both at once, that spark of communion was all it took. That feeling is magical and addictive. I think it's the reason people go to concerts. At least, it's the reason I [redacted] [redacted] GFRÖRER: Through art is the main way I relate to people: all of my friends are artists now, drawing is all I think about, my husband and I start making comics together as soon as I get home from work. I can hardly think of any connections in my life that aren't founded in a mutual appreciation of visual art. But I don't seem to form that [redacted] and [redacted] spark through my own work, which is a shame, because people--wonderful people! Fans, you are my favorite people--want to make that connection by talking about me with me. Until we can talk about some other artist, removed from us both: Harry Clarke, [redacted], [redacted], I don't feel that sense of unity. I feel like a fish being eaten by another fish. [[Qui-Gonn Jinn]] [redacted] GFRÖRER: [redacted] likes to say that [redacted] runs in our family, meaning that we tend to burst into extemporaneous song. Other than the humble ballads over breakfast I am tragically bereft of musical talent. I play the Theremin but only as a hobby, I don't perform. I love to draw but like most artists I find my work perpetually lacking. I like to tell stories orally, preferably a little drunk. My favorite way to express my ideas is in long boring monologues delivered to unsuspecting bystanders. I would make a terrific docent. [redacted] GFRÖRER: Yes, it's meant to allude to the man (Jadwiga wryly calls him Handsome, but in my head I was calling him Onan) and Anabel: he's the flesh and she's the bone. Bones also appear a lot in the book, Jadwiga's house is decorated with them because of her liminality [redacted] [predacted] GFRÖRER: I have a morbid fascination with the indignity inherent in being alive, the reality that our bodies are so demanding and that they are constantly, continuously betraying us, getting in the way of all the really meaningful things we could be doing instead, yet occasionally communicating nobility with their involuntary actions. Death, then, represents freedom from bodily abjection--death confers dignity, power, independence. The Ghost of Julia in ‘Ariadne auf Naxos’ is gleefully selfish and chaotic, shirking responsibilities and causing mischief, where the living Julia is always worrying, always trying to help and mend. And after death there is nothing more to fear: no shame, no anxiety, no doubt. Death and pain tend to be desirable states in my stories. To my chagrin, no one with firsthand experience has yet described the afterlife to me, so I'm more or less content not to know and accept the futility of wondering what it's like to actually be dead. [predacted] GFRÖRER: I was raised by a Jungian psychoanalyst and I learned my fundamental methods of perceiving from her, so it's accurate to say that I'm preoccupied with obtaining guidance from hidden realms, from shadows or mirrors. I love stories where the characters confront their opposites, like in the Neverending Story, or where they embody conflicting ideas, like Lancelot on the grail quest. I'm such a [postdacted] and I pursue negative emotions more than positive ones, I'm like a spelunker in the inner caverns, I like to chew on all my certainties until doubt reveals itself because precariousness is the natural state of things. Do I embrace mystery? I insist upon it. [predacted] GFRÖRER: I'm sorry about your cats. Do you think death means a transcendence of reality as we experience it now? Self-transforming machine elves unlock the vomitoria of the theater of false perceptions? I would prefer to believe that consciousness dissipates after death, but nothing we know about the universe indicates that this is so: nothing is bounded, nothing really ends, security and finality and the boundaries between things exist by consensus only. I'm looking at the Wikipedia article for "universe" as I write this and when the page loaded with an image at the top, as most Wikipedia pages do, I felt like I would faint. It's a sort of mottled blue oval. How vulgar! [predacted] story. The man fears god and damnation, while Jadwiga’s witchcraft seems authentically pagan. Are these subjects of interest to you? GFRÖRER: Well, let me first profess my ignorance of authentic paganism--the occultism you see being practiced in my book is mostly based on medieval Christian ideas about the kinds of things a witch or sorcerer might do. I'm extremely interested in historical Christianity. And for the record, redacted <u>GFRÖRER: Oh no. I had no idea there was such a movie. Paul Verhoeven? Really? Goddamn it. But that's my understanding of the mandrake myth, yes, that semen from a hanged man would sprout this little man-shaped screaming plant. I've also read that sex with a mandrake root produces a baby with no soul and no emotions, and that you can carve the root into a little person that will be your slave, and that you can make a balm with the mandrake that you rub on your legs and feet to feel as if you're flying. It's a panacea among the [redacted] parsnips.</u> REDACTED GFRÖRER: He's referring to the baby Jadwiga might conceive from sex with the mandrake. In a sense Onan would be its father, part of him would live on after he's dead. REDACTED GFRÖRER: There are a lot of things a witch could use a soulless baby for. Probably we can infer from the story that Jadwiga is a little lonely. Possibly, given Buer's impatience with emotional people, she would consider soullessness an advantage. REDACTED GFRÖRER: Buer is an intensely logical person (actually a President of Hell and a teacher of logic and philosophy) and his view of love is purely pragmatic. You could argue that from an evolutionary standpoint love is pragmatic, but Buer is indifferent to its spiritual value, so to him it's all song and dance. Jadwiga isn’t necessarily a romantic, but because she likes Onan she's willing to entertain the idea. Redacted GFRÖRER: I only know of Buer from REDACTED, but I think he must be a native of hell rather than the spirit of someone dead, since demons of Christianity are usually fallen angels. He also teaches herbology and provides familiars. Some old grimoires imply that a demon exists to teach any subject or perform any task, and it remains only to perform the necessary ritual to summon and command that demon. There are a lot of teachers down there, an infernal university. Redacted GFRÖRER: Thanks, Jason, this has been fun. At the moment my husband and I are frantically finishing up a couple of new zines for the Portland Zine Symposium, which as of this writing is less than a week away. We did one about our heroes, which he wrote and I illustrated, and another about Wolverine (and to a lesser extent the other X Men and the rest of the Marvel universe) which is mostly comics written and drawn by both of us. I recently finished a third issue of Ariadne auf Naxos, which is being published by Teenage Dinosaur and should be available at the Symposium as well. And I am glacially thumbnailing a couple of shorter comics which also deal with the idea of sex with ghosts. I have no idea what I'll do with them when I finish them but I can't stop writing them. [[Category:Flesh and Bone]] [[Category:Julia Gfroerer]] [[Category:Dylan Walliams]] 6245db1vgpck9wzh27rtu86vgdz9p1x 3943 3942 2010-09-23T06:05:15Z Spritzfellow 3082342 3943 wikitext text/x-wiki [[FLASHIN' BONE BY JULIA GROFFLER]] [[DO NOT LEAVE IT IS NOT REAL]] ALL INTERVIEWS CONDUCTED, REDACTED AND EDITED BY DEBORAH SOLOMON [[File:Doomsday.jpg|thumb|364px|right|Gfroerer relaxes at home]] [redacted] GFRÖRER: Folklore and legends are irresistible to me, the more gruesome the better. I have an insatiable compulsion to examine the humanity of mythic characters, thinking about what it would be like to live with them if they were real people, because in a way they are real people--we love them because they are part of us. [redacted] said that the best part of the story is the part that's kept from us, and for a storyteller that's probably a wise policy, but I can't resist pursuing parts that might be better left unshown. I want to draw the snot-dripping tears and everything else because I love to read those parts. [redacted] '''GFRÖRER: There's a part in [redacted] where [redacted] eloquently compares the so-called Dark Ages to his present day and concludes,''' ==='''"Do you think that they, with their Battles, Famine, Black Death and Serfdom, were less enlightened than we are, with our Wars, Blockade, Influenza and Conscription? Even if they were foolish enough to believe that the earth was the centre of the universe, do we not ourselves believe that man is the fine flower of creation? If it takes a million years for a fish to become a reptile, has Man, in our few hundred, altered out of recognition?"''' This quote was at the top of my artist's statement for a long time. It was a revelation to me when I began to read books from antiquity to discover that our ancestors had senses of humor, that the only reason their jokes sound lame is because they lose their sparkle in translation. No, I don't think we've changed at all. Even the differences between you and me and a couple of Lascaux cave painters are pretty minor, really.=== [redacted] GFRÖRER: The instinct is to find people who are like us, or to make people who are like us, and art is a tool to create that sense of communion. A stranger who likes the same song you like understands something secret about you--the person who wrote it understands you both--and if you want your friend to understand you in the same way, you play the song for her. Like in the famous scene from [redacted], where [redacted] explains how she and [redacted] fell in love: they were reading about [redacted] together, and the story moved them both at once, that spark of communion was all it took. That feeling is magical and addictive. I think it's the reason people go to concerts. At least, it's the reason I [redacted] [redacted] GFRÖRER: Through art is the main way I relate to people: all of my friends are artists now, drawing is all I think about, my husband and I start making comics together as soon as I get home from work. I can hardly think of any connections in my life that aren't founded in a mutual appreciation of visual art. But I don't seem to form that [redacted] and [redacted] spark through my own work, which is a shame, because people--wonderful people! Fans, you are my favorite people--want to make that connection by talking about me with me. Until we can talk about some other artist, removed from us both: Harry Clarke, [redacted], [redacted], I don't feel that sense of unity. I feel like a fish being eaten by another fish. [[Qui-Gonn Jinn]] [redacted] GFRÖRER: [redacted] likes to say that [redacted] runs in our family, meaning that we tend to burst into extemporaneous song. Other than the humble ballads over breakfast I am tragically bereft of musical talent. I play the Theremin but only as a hobby, I don't perform. I love to draw but like most artists I find my work perpetually lacking. I like to tell stories orally, preferably a little drunk. My favorite way to express my ideas is in long boring monologues delivered to unsuspecting bystanders. I would make a terrific docent. [redacted] GFRÖRER: Yes, it's meant to allude to the man (Jadwiga wryly calls him Handsome, but in my head I was calling him Onan) and Anabel: he's the flesh and she's the bone. Bones also appear a lot in the book, Jadwiga's house is decorated with them because of her liminality [redacted] [predacted] GFRÖRER: I have a morbid fascination with the indignity inherent in being alive, the reality that our bodies are so demanding and that they are constantly, continuously betraying us, getting in the way of all the really meaningful things we could be doing instead, yet occasionally communicating nobility with their involuntary actions. Death, then, represents freedom from bodily abjection--death confers dignity, power, independence. The Ghost of Julia in ‘Ariadne auf Naxos’ is gleefully selfish and chaotic, shirking responsibilities and causing mischief, where the living Julia is always worrying, always trying to help and mend. And after death there is nothing more to fear: no shame, no anxiety, no doubt. Death and pain tend to be desirable states in my stories. To my chagrin, no one with firsthand experience has yet described the afterlife to me, so I'm more or less content not to know and accept the futility of wondering what it's like to actually be dead. [predacted] GFRÖRER: I was raised by a Jungian psychoanalyst and I learned my fundamental methods of perceiving from her, so it's accurate to say that I'm preoccupied with obtaining guidance from hidden realms, from shadows or mirrors. I love stories where the characters confront their opposites, like in the Neverending Story, or where they embody conflicting ideas, like Lancelot on the grail quest. I'm such a [postdacted] and I pursue negative emotions more than positive ones, I'm like a spelunker in the inner caverns, I like to chew on all my certainties until doubt reveals itself because precariousness is the natural state of things. Do I embrace mystery? I insist upon it. [predacted] GFRÖRER: I'm sorry about your cats. Do you think death means a transcendence of reality as we experience it now? Self-transforming machine elves unlock the vomitoria of the theater of false perceptions? I would prefer to believe that consciousness dissipates after death, but nothing we know about the universe indicates that this is so: nothing is bounded, nothing really ends, security and finality and the boundaries between things exist by consensus only. I'm looking at the Wikipedia article for "universe" as I write this and when the page loaded with an image at the top, as most Wikipedia pages do, I felt like I would faint. It's a sort of mottled blue oval. How vulgar! [predacted] story. The man fears god and damnation, while Jadwiga’s witchcraft seems authentically pagan. Are these subjects of interest to you? GFRÖRER: Well, let me first profess my ignorance of authentic paganism--the occultism you see being practiced in my book is mostly based on medieval Christian ideas about the kinds of things a witch or sorcerer might do. I'm extremely interested in historical Christianity. And for the record, redacted <u>GFRÖRER: Oh no. I had no idea there was such a movie. Paul Verhoeven? Really? Goddamn it. But that's my understanding of the mandrake myth, yes, that semen from a hanged man would sprout this little man-shaped screaming plant. I've also read that sex with a mandrake root produces a baby with no soul and no emotions, and that you can carve the root into a little person that will be your slave, and that you can make a balm with the mandrake that you rub on your legs and feet to feel as if you're flying. It's a panacea among the [redacted] parsnips.</u> REDACTED GFRÖRER: He's referring to the baby Jadwiga might conceive from sex with the mandrake. In a sense Onan would be its father, part of him would live on after he's dead. REDACTED GFRÖRER: There are a lot of things a witch could use a soulless baby for. Probably we can infer from the story that Jadwiga is a little lonely. Possibly, given Buer's impatience with emotional people, she would consider soullessness an advantage. REDACTED GFRÖRER: Buer is an intensely logical person (actually a President of Hell and a teacher of logic and philosophy) and his view of love is purely pragmatic. You could argue that from an evolutionary standpoint love is pragmatic, but Buer is indifferent to its spiritual value, so to him it's all song and dance. Jadwiga isn’t necessarily a romantic, but because she likes Onan she's willing to entertain the idea. Redacted GFRÖRER: I only know of Buer from REDACTED, but I think he must be a native of hell rather than the spirit of someone dead, since demons of Christianity are usually fallen angels. He also teaches herbology and provides familiars. Some old grimoires imply that a demon exists to teach any subject or perform any task, and it remains only to perform the necessary ritual to summon and command that demon. There are a lot of teachers down there, an infernal university. Redacted GFRÖRER: Thanks, Jason, this has been fun. At the moment my husband and I are frantically finishing up a couple of new zines for the Portland Zine Symposium, which as of this writing is less than a week away. We did one about our heroes, which he wrote and I illustrated, and another about Wolverine (and to a lesser extent the other X Men and the rest of the Marvel universe) which is mostly comics written and drawn by both of us. I recently finished a third issue of Ariadne auf Naxos, which is being published by Teenage Dinosaur and should be available at the Symposium as well. And I am glacially thumbnailing a couple of shorter comics which also deal with the idea of sex with ghosts. I have no idea what I'll do with them when I finish them but I can't stop writing them. [[Category:Flesh and Bone]] [[Category:Julia Gfroerer]] [[Category:Dylan Walliams]] 2l8qfulkuern0wa7ocpzktz53piljhw 0 2045 3872 2010-09-23T05:00:13Z Spritzfellow 3082342 3872 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2025 3858 2010-09-23T04:59:31Z Spritzfellow 3082342 3858 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2019 3850 2010-09-23T04:52:13Z Default 49312 moved [[Main Page]] to [[Zine Library of Babel Wiki]]:&#32;SEO 3850 wikitext text/x-wiki #REDIRECT [[Zine Library of Babel Wiki]] 2tn5i9hu8rds0eval2wxkppldxcd3ee 0 2089 3894 2010-09-23T05:01:45Z Spritzfellow 3082342 3894 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2029 3862 2010-09-23T04:59:41Z Spritzfellow 3082342 3862 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2065 3882 2010-09-23T05:00:44Z Spritzfellow 3082342 3882 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2093 3896 2010-09-23T05:01:50Z Spritzfellow 3082342 3896 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2073 3886 2010-09-23T05:01:29Z Spritzfellow 3082342 3886 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2061 3880 2010-09-23T05:00:38Z Spritzfellow 3082342 3880 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2032 3865 2010-09-23T04:59:52Z Spritzfellow 3082342 3865 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2028 3861 2010-09-23T04:59:41Z Spritzfellow 3082342 3861 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2023 3856 2010-09-23T04:59:21Z Spritzfellow 3082342 3856 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2085 3892 2010-09-23T05:01:39Z Spritzfellow 3082342 3892 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2041 3870 2010-09-23T05:00:13Z Spritzfellow 3082342 3870 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2099 3899 2010-09-23T05:01:55Z Spritzfellow 3082342 3899 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 3926 3899 2010-09-23T05:40:45Z Spritzfellow 3082342 David Sparkplug Youngblood, Dylan Soto, Tedder MONGO 3926 wikitext text/x-wiki [[File:Placeholder|right|300px]] W {| | class="es" lang="es"|Debo a la conjunción de un espejo y de una enciclopedia el descubrimiento de Uqbar. El espejo inquietaba el fondo de un corredor en una quinta de la calle Gaona, en Ramos Mejía; la enciclopedia falazmente se llama The ''Anglo-American Cyclopaedía'' (New York, 1917) y es una reimpresión literal, pero también morosa, de la ''Encyclopaedia Britannica'' de 1902. El hecho se produjo hará unos cinco años. Bioy Casares había cenado conmigo esa noche y nos demoró una vasta polémica sobre la ejecución de una novela en primera persona, cuyo narrador omitiera o desfigurara los hechos e incurriera en diversas contradicciones, que permitieran a unos pocos lectores -a muy pocos lectores- la adivinación de una realidad atroz o banal. Desde el fondo remoto del corredor, el espejo nos acechaba. Descubrimos (en la alta noche ese descubrimiento es inevitable) que los espejos tienen algo monstruoso. Entonces Bioy Casares recordó que uno de los heresiarcas de Uqbar había declarado que los espejos y la cópula son abominables, porque multiplican el número de los hombres. Le pregunté el origen de esa memorable sentencia y me contestó que '' The Anglo-American Cyclopaedia'' la registraba, en su artículo sobre Uqbar. La quinta (que habíamos alquilado amueblada) poseía un ejemplar de esa obra. En las últimas páginas del volumen XLVI dimos con un artículo sobre Upsala; en las primeras del XLVII, con uno sobre ''Ural-Altaic Languages'', pero ni una palabra sobre Uqbar. Bioy, un poco azorado, interrogó los tomos del índice. Agotó en vano todas las lecciones imaginables: Ukbar, Ucbar, Ookbar, Oukbahr... Antes de irse, me dijo que era una región del Irak o del Asia Menor. Confieso que asentí con alguna incomodidad. Conjeturé que ese país indocumentado y ese heresiarca anónimo eran una ficción improvisada por la modestia de Bioy para justificar una frase. El examen estéril de uno de los atlas de Justus Perthes fortaleció mi duda. |- | class="en"|The following day, Bioy called me from Buenos Aries. He told me he had before him the article on Uqbar, in volume XLVI of the encyclopedia. The heresiarch's name was not forthcoming, but there was a note on his doctrine, formulated in words almost identical to those he had repeated, though perhaps literally inferior. He had recalled: Copulation and mirrors are abominable. The text of the encyclopedia said: For one of those gnostics, the visible universe was an illusion or (more precisely) a sophism. Mirrors and fatherhood are abominable because they multiply and disseminate that universe. I told him, in all truthfulness, that I should like to see that article. A few days later he brought it. This surprised me, since the scrupulous cartographical indices of Ritter's Erdkunde were plentifully ignorant of the name Uqbar. | class="es" lang="es"|Al día siguiente, Bioy me llamó desde Buenos Aires. Me dijo que tenía a la vista el artículo sobre Uqbar, en el volumen XLVI de la Enciclopedia. No constaba el nombre del heresiarca, pero sí la noticia de su doctrina, formulada en palabras casi idénticas a las repetidas por él, aunque -tal vez- literariamente inferiores. Él había recordado: ''Copulation and mirrors are abominable''. El texto de la Enciclopedia decía'': Para uno de esos gnósticos, el visible universo era una ilusión o (más precisamente) un sofisma. Los espejos y la paternidad son abominables'' (mirrors and fatherhood are hateful)'' porque lo multiplican y lo divulgan''. Le dije, sin faltar a la verdad, que me gustaría ver ese artículo. A los pocos días lo trajo. Lo cual me sorprendió, porque los escrupulosas índices cartográficos de la '' Erdkunde'' de Ritter ignoraban con plenitud el nombre de Uqbar. |- | class="en"|The tome Bioy brought was, in fact, Volume XLVI of the Anglo-American Cyclopaedia. On the half-title page and the spine, the alphabetical marking (Tor-Ups) was that of our copy but, instead of 917, it contained 921 pages. These four additional pages made up the article on Uqbar, which (as the reader will have noticed) was not indicated by the alphabetical marking. We later determined that there was no other difference between the volumes. Both of them (as I believe I have indicated) are reprints of the tenth Encyclopaedia Britannica. Bioy had acquired his copy at some sale or other. | class="es" lang="es"|El volumen que trajo Bioy era efectivamente el XLVI de la ''Anglo-American Cyclopaedia''. En la falsa carátula y en el lomo, la indicación alfabética (Tor-Ups) era la de nuestro ejemplar, pero en vez de 917 páginas constaba de 921. Esas cuatro páginas adicionales comprendían al artículo sobre Uqbar; no previsto (como habrá advertido el lector) por la indicación alfabética. Comprobamos después que no hay otra diferencia entre los volúmenes. Los dos (según creo haber indicado) son reimpresiones de la décima ''Encyclopaedia Britannica''. Bioy había adquirido su ejemplar en uno de tantos remates. |- | class="en"|We read the article with some care. The passage recalled by Bioy was perhaps the only surprising one. The rest of it seemed very plausible, quite in keeping with the general tone of the work and (as is natural) a bit boring. Reading it over again, we discovered beneath its rigorous prose a fundamental vagueness. Of the fourteen names which figured in the geographical part, we only recognized three - Khorasan, Armenia, Erzerum - interpolated in the text in an ambiguous way. Of the historical names, only one: the impostor magician Smerdis, invoked more as a metaphor. The note seemed to fix the boundaries of Uqbar, but its nebulous reference points were rivers and craters and mountain ranges of that same region. We read, for example, that the lowlands of Tsai Khaldun and the Axa Delta marked the southern frontier and that on the islands of the delta wild horses procreate. All this, on the first part of page 918. In the historical section (page 920) we learned that as a result of the religious persecutions of the thirteenth century, the orthodox believers sought refuge on these islands, where to this day their obelisks remain and where it is not uncommon to unearth their stone mirrors. The section on Language and Literature was brief. Only one trait is worthy of recollection: it noted that the literature of Uqbar was one of fantasy and that its epics and legends never referred to reality, but to the two imaginary regions of Mlejnas and Tlön... The bibliography enumerated four volumes which we have not yet found, though the third - Silas Haslam: History of the Land Called Uqbar, 1874 - figures in the catalogs of Bernard Quartich's book shop [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note1 (1)]. The first, Lesbare und lesenswerthe Bemerkungen uber das Land Ukkbar in Klein-Asien, dates from 1641 and is the work of Johannes Valentinus Andrea. This fact is significant; a few years later, I came upon that name in the unsuspected pages of De Quincey (Writings, Volume XIII) and learned that it belonged to a German theologian who, in the early seventeenth century, described the imaginary community of Rosae Crucis - a community that others founded later, in imitation of what he had prefigured. | class="es" lang="es"|Leímos con algún cuidado el artículo. El pasaje recordado por Bioy era tal vez el único sorprendente. El resto parecía muy verosímil, muy ajustado al tono general de la obra y (como es natural) un poco aburrido. Releyéndolo, descubrimos bajo su rigurosa escritura una fundamental vaguedad. De los catorce nombres que figuraban en la parte geográfica, sólo reconocimos tres -Jorasán, Armenia, Erzerum-, interpolados en el texto de un modo ambiguo. De los nombres históricos, uno solo: el impostor Esmerdis el mago, invocado más bien como una metáfora. La nota parecía precisar las fronteras de Uqbar, pero sus nebulosos puntos de referencias eran ríos y cráteres y cadenas de esa misma región. Leímos, verbigracia, que las tierras bajas de Tsai Jaldún y el delta del Axa definen la frontera del sur y que en las islas de ese delta procrean los caballos salvajes. Eso, al principio de la página 918. En la sección histórica (página 920) supimos que a raíz de las persecuciones religiosas del siglo trece, los ortodoxos buscaron amparo en las islas, donde perduran todavía sus obeliscos y donde no es raro exhumar sus espejos de piedra. La sección ''idioma y literatura'' era breve. Un solo rasgo memorable: anotaba que la literatura de Uqbar era de carácter fantástico y que sus epopeyas y sus leyendas no se referían jamás a la realidad, sino a las dos regiones imaginarias de Mlejnas y de Tlön... La bibliografía enumeraba cuatro volúmenes que no hemos encontrado hasta ahora, aunque el tercero -Silas Haslam: ''History of the Land Called Uqbar'', 1874-figura en los catálogos de librería de Bernard Quaritch. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note1 (1)] El primero, ''Lesbare und lesenswerthe Bemerkungen über das Land Ukkbar in Klein-Asien'', data de 1641 y es obra de Johannes Valentinus Andreä. El hecho es significativo; un par de años después, di con ese nombre en las inesperadas páginas de De Quincey (''Writings'', decimotercero volumen) y supe que era el de un teólogo alemán que a principios del siglo XVII describió la imaginaria comunidad de la Rosa-Cruz -que otros luego fundaron, a imitación de lo prefigurado por él. |- | class="en"|That night we visited the National Library. In vain we exhausted atlases, catalogs, annuals of geographical societies, travelers' and historians' memoirs: no one had ever been in Uqbar. Neither did the general index of Bioy's encyclopedia register that name. The following day, Carlos Mastronardi (to whom I had related the matter) noticed the black and gold covers of the Anglo-American Cyclopaedia in a bookshop on Corrientes and Talcahuano... He entered and examined Volume XLVI. Of course, he did not find the slightest indication of Uqbar. | class="es" lang="es"|Esa noche visitamos la Biblioteca Nacional. En vano fatigamos atlas, catálogos, anuarios de sociedades geográficas, memorias de viajeros e historiadores: nadie había estado nunca en Uqbar. El índice general de la enciclopedia de Bioy tampoco registraba ese nombre. Al día siguiente, Carlos Mastronardi (a quien yo había referido el asunto) advirtió en una librería de Corrientes y Talcahuano los negros y dorados lomos de la '' Anglo-American Cyclopaedía''... Entró e interrogó el volumen XLVI Naturalmente, no dio con el menor indicio de Uqbar. |} ===II=== [[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#top top]] {| | class="en"|Some limited and waning memory of Herbert Ashe, an engineer of the southern railways, persists in the hotel at Adrogue, amongst the effusive honeysuckles and in the illusory depths of the mirrors. In his lifetime, he suffered from unreality, as do so many Englishmen; once dead, he is not even the ghost he was then. He was tall and listless and his tired rectangular beard had once been red. I understand he was a widower, without children. Every few years he would go to England, to visit (I judge from some photographs he showed us) a sundial and a few oaks. He and my father had entered into one of those close (the adjective is excessive) English friendships that begin by excluding confidences and very soon dispense with dialog. They used to carry out an exchange of books and newspapers and engage in taciturn chess games... I remember him in the hotel corridor, with a mathematics book in his hand, sometimes looking at the irrecoverable colors of the sky. One afternoon, we spoke of the duodecimal system of numbering (in which twelve is written as 10). Ashe said that he was converting some kind of tables from the duodecimal to the sexagesimal system (in which sixty is written as 10). He added that the task had been entrusted to him by a Norwegian, in Rio Grande du Sul. We had known him for eight years and he had never mentioned in sojourn in that region... We talked of country life, of the capangas, of the Brazilian etymology of the word gaucho (which some old Uruguayans still pronounce gaúcho) and nothing more was said - may God forgive me - of duodecimal functions. In September of 1937 (we were not at the hotel), Herbert Ashe died of a ruptured aneurysm. A few days before, he had received a sealed and certified package from Brazil. It was a book in large octavo. Ashe left it at the bar, where - months later - I found it. I began to leaf through it and experienced an astonished and airy feeling of vertigo which I shall not describe, for this is not the story of my emotions but of Uqbar and Tlön and Orbis Tertius. On one of the nights of Islam called the Night of Nights, the secret doors of heaven open wide and the water in the jars becomes sweeter; if those doors opened, I would not feel what I felt that afternoon. The book was written in English and contained 1001 pages. On the yellow leather back I read these curious words which were repeated on the title page: A First Encyclopedia of Tlön. Vol. XI. Hlaer to Jangr. There was no indication of date or place. On the first page and on a leaf of silk paper that covered on of the color plates there was stamped a blue oval with this inscription: Orbis Tertius. Two years before I had discovered, in a volume of a certain pirated encyclopedia, a superficial description of a nonexistent country; now chance afforded me something more precious and arduous. Now I held in my hands a vast methodical fragment of an unknown planet's entire history, with its architecture and its playing cards, with the dread of its mythologies and the murmur of its languages, with its emperors and its seas, with its minerals and its birds and its fish, with its algebra and its fire, with its theological and metaphysical controversy. And all of it articulated, coherent, with no visible doctrinal intent or tone of parody. | class="es" lang="es"|Algún recuerdo limitado y menguante de Herbert Ashe, ingeniero de los ferrocarriles del Sur, persiste en el hotel de Adrogué, entre las efusivas madreselvas y en el fondo ilusorio de los espejos. En vida padeció de irrealidad, como tantos ingleses; muerto, no es siquiera el fantasma que ya era entonces. Era alto y desganado y su cansada barba rectangular había sido roja. Entiendo que era viudo, sin hijos. Cada tantos años iba a Inglaterra: a visitar (juzgo por unas fotografías que nos mostró) un reloj de sol y unos robles. Mi padre había estrechado con él (el verbo es excesivo) una de esas amistades inglesas que empiezan por excluir la confidencia y que muy pronto omiten el diálogo. Solían ejercer un intercambio de libros y de periódicos; solían batirse al ajedrez, taciturnamente... Lo recuerdo en el corredor del hotel, con un libro de matemáticas en la mano, mirando a veces los colores irrecuperables del cielo. Una tarde, hablamos del sistema duodecimal de numeración (en el que doce se escribe 10). Ashe dijo que precisamente estaba trasladando no sé qué tablas duodecimales a sexagesimales (en las que sesenta se escribe 10). Agregó que ese trabajo le había sido encargado por un noruego: en Rio Grande do Sul. Ocho años que lo conocíamos y no había mencionado nunca su estadía en esa región... Hablamos de vida pastoril, de ''capangas'', de la etimología brasilera de la palabra ''gaucho'' (que algunos viejos orientales todavía pronuncian ''gaúcho'') y nada más se dijo -Dios me perdone- de funciones duodecimales. En setiembre de 1937 (no estábamos nosotros en el hotel) Herbert Ashe murió de la rotura de un aneurisma. Días antes, había recibido del Brasil un paquete sellado y certificado. Era un libro en octavo mayor. Ashe lo dejó en el bar, donde -meses después- lo encontré. Me puse a hojearlo y sentí un vértigo asombrado y ligero que no describiré, porque ésta no es la historia de mis emociones sino de Uqbar y Tlön y Orbis Tertius. En una noche del Islam que se llama la Noche de las Noches se abren de par en par las secretas puertas del cielo y es más dulce el agua en los cántaros; si esas puertas se abrieran, no sentiría lo que en esa tarde sentí. El libro estaba redactado en inglés y lo integraban 1001 páginas. En el amarillo lomo de cuero leí estas curiosas palabras que la falsa carátula repetía: ''A First Encyclopaedia of Tlön. vol. XI. Hlaer to Jangr''. No había indicación de fecha ni de lugar. En la primera página y en una hoja de papel de seda que cubría una de las láminas en colores había estampado un óvalo azul con esta inscripción: ''Orbis Tertius''. Hacía dos años que yo había descubierto en un tomo de cierta enciclopedia práctica una somera descripción de un falso país; ahora me deparaba el azar algo más precioso y más arduo. Ahora tenía en las manos un vasto fragmento metódico de la historia total de un planeta desconocido, con sus arquitecturas y sus barajas, con el pavor de sus mitologías y el rumor de sus lenguas, con sus emperadores y sus mares, con sus minerales y sus pájaros y sus peces, con su álgebra y su fuego, con su controversia teológica y metafísica. Todo ello articulado, coherente, sin visible propósito doctrinal o tono paródico. |- | class="en"|In the "Eleventh Volume" which I have mentioned, there are allusions to preceding and succeeding volumes. In an article in the N. R. F. which is now classic, Nestor Ibarra has denied the existence of those companion volumes; Ezequiel Martinez Estrada and Drieu La Rochelle have refuted that doubt, perhaps victoriously. The fact is that up to now the most diligent inquiries have been fruitless. In vain we have upended the libraries of the two Americas and of Europe. Alfonso Reyes, tired of these subordinate sleuthing procedures, proposes that we should all undertake the task of reconstructing the many and weighty tomes that are lacking: ex ungue leonem. He calculates, half in earnest and half jokingly, that a generation of tlonistas should be sufficient. This venturesome computation brings us back to the fundamental problem: Who are the inventors of Tlön? The plural is inevitable, because the hypothesis of a lone inventor - an infinite Leibniz laboring away darkly and modestly - has been unanimously discounted. It is conjectured that this brave new world is the work of a secret society of astronomers, biologists, engineers, metaphysicians, poets, chemists, algebraists, moralists, painters, geometers... directed by an obscure man of genius. Individuals mastering these diverse disciplines are abundant, but not so those capable of inventiveness and less so those capable of subordinating that inventiveness to a rigorous and systematic plan. This plan is so vast that each writer's contribution is infinitesimal. At first it was believed that Tlön was a mere chaos, and irresponsible license of the imagination; now it is known that is a cosmos and that the intimate laws which govern it have been formulated, at least provisionally. Let it suffice for me to recall that the apparent contradictions of the Eleventh Volume are the fundamental basis for the proof that the other volumes exist, so lucid and exact is the order observed in it. The popular magazines, with pardonable excess, have spread news of the zoology and topography of Tlön; I think its transparent tiger and towers of blood perhaps do not merit the continued attention of all men. I shall venture to request a few minutes to expound its concept of the universe. | class="es" lang="es"|En el "onceno tomo" de que hablo hay alusiones a tomos ulteriores y precedentes. Néstor Ibarra, en un artículo ya clásico de la N. R. F., ha negado que existen esos aláteres; Ezequiel Martínez Estrada y Drieu La Rochelle han refutado, quizá victoriosamente, esa duda. El hecho es que hasta ahora las pesquisas más diligentes han sido estériles. En vano hemos desordenado las bibliotecas de las dos Américas y de Europa. Alfonso Reyes, harto de esas fatigas subalternas de índole policial, propone que entre todos acometamos la obra de reconstruir los muchos y macizos tomos que faltan: ''ex ungue leonem''. Calcula, entre veras y burlas, que una generación de ''tlönistas'' puede bastar. Ese arriesgado cómputo nos retrae al problema fundamental: ¿Quiénes inventaron a Tlön? El plural es inevitable, porque la hipótesis de un solo inventor -de un infinito Leibniz obrando en la tiniebla y en la modestia- ha sido descartada unánimemente. Se conjetura que este ''brave new world'' es obra de una sociedad secreta de astrónomos, de biólogos, de ingenieros, de metafísicos, de poetas, de químicos, de algebristas, de moralistas, de pintores, de geómetras... dirigidos por un oscuro hombre de genio. Abundan individuos que dominan esas disciplinas diversas, pero no los capaces de invención y menos los capaces de subordinar la invención a un riguroso plan sistemático. Ese plan es tan vasto que la contribución de cada escritor es infinitesimal. Al principio se creyó que Tlön era un mero caos, una irresponsable licencia de la imaginación; ahora se sabe que es un cosmos y las íntimas leyes que lo rigen han sido formuladas, siquiera en modo provisional. Básteme recordar que las contradicciones aparentes del Onceno Tomo son la piedra fundamental de la prueba de que existen los otros: tan lúcido y tan justo es el orden que se ha observado en él. Las revistas populares han divulgado, con perdonable exceso, la zoología y la topografía de Tlön; yo pienso que sus tigres transparentes y sus torres de sangre no merecen, tal vez, la continua atención de todos los hombres. Yo me atrevo a pedir unos minutos para su concepto del universo. |- | class="en"|Hume noted for all time that Berkeley's arguments did not admit the slightest refutation nor did they cause the slightest conviction. This dictum is entirely correct in its application to the earth, but entirely false in Tlön. The nations of this planet are congenitally idealist. Their language and the derivations of their language - religion, letters, metaphysics - all presuppose idealism. The world for them is not a concourse of objects in space; it is a heterogeneous series of independent acts. It is successive and temporal, not spatial. There are no nouns in Tlön's conjectural Ursprache, from which the "present" languages and the dialects are derived: there are impersonal verbs, modified by monosyllabic suffixes (or prefixes) with an adverbial value. For example: there is no word corresponding to the word "moon,", but there is a verb which in English would be "to moon" or "to moonate." "The moon rose above the river" is hlor u fang axaxaxas mlo, or literally: "upward behind the onstreaming it mooned." | class="es" lang="es"|Hume notó para siempre que los argumentos de Berkeley no admiten la menor réplica y no causan la menor convicción. Ese dictamen es del todo verídico en su aplicación a la tierra; del todo falso en Tlön. Las naciones de ese planeta son -congénitamente- idealistas. Su lenguaje y las derivaciones de su lenguaje -la religión, las letras, la metafísica- presuponen el idealismo. El mundo para ellos no es un concurso de objetos en el espacio; es una serie heterogénea de actos independientes. Es sucesivo, temporal, no espacial. No hay sustantivos en la conjetural ''Ursprache'' de Tlön, de la que proceden los idiomas "actuales" y los dialectos: hay verbos impersonales, calificados por sufijos (o prefijos) monosilábicos de valor adverbial. Por ejemplo: no hay palabra que corresponda a la palabra ''luna'', pero hay un verbo que sería en español ''lunecer'' o ''lunar''. ''Surgió la luna'' ''sobre el río'' se dice ''hlör u fang axaxaxas mlö'' o sea en su orden: hacia arriba (''upward'') detrás duradero-fluir luneció. (Xul Solar traduce con brevedad: upa tras perfluyue lunó. ''Upward, behind the onstreaming it mooned''. |- | class="en"|The preceding applies to the languages of the southern hemisphere. In those of the northern hemisphere (on whose Ursprache there is very little data in the Eleventh Volume) the prime unit is not the verb, but the monosyllabic adjective. The noun is formed by an accumulation of adjectives. They do not say "moon," but rather "round airy-light on dark" or "pale-orange-of-the-sky" or any other such combination. In the example selected the mass of adjectives refers to a real object, but this is purely fortuitous. The literature of this hemisphere (like Meinong's subsistent world) abounds in ideal objects, which are convoked and dissolved in a moment, according to poetic needs. At times they are determined by mere simultaneity. There are objects composed of two terms, one of visual and another of auditory character: the color of the rising sun and the faraway cry of a bird. There are objects of many terms: the sun and the water on a swimmer's chest, the vague tremulous rose color we see with our eyes closed, the sensation of being carried along by a river and also by sleep. These second-degree objects can be combined with others; through the use of certain abbreviations, the process is practically infinite. There are famous poems made up of one enormous word. This word forms a poetic object created by the author. The fact that no one believes in the reality of nouns paradoxically causes their number to be unending. The languages of Tlön's northern hemisphere contain all the nouns of the Indo-European languages - and many others as well. | class="es" lang="es"|Lo anterior se refiere a los idiomas del hemisferio austral. En los del hemisferio boreal (de cuya '' Ursprache'' hay muy pocos datos en el Onceno Tomo) la célula primordial no es el verbo, sino el adjetivo monosilábico. El sustantivo se forma por acumulación de adjetivos. No se dice ''luna'': se ''dice aéreo-claro sobre oscuro-redondo'' o '' anaranjado-tenue-de1 cielo'' o cualquier otra agregación. En el caso elegido la masa de adjetivos corresponde a un objeto real; el hecho es puramente fortuito. En la literatura de este hemisferio (como en el mundo subsistente de Meinong) abundan los objetos ideales, convocados y disueltos en un momento, según las necesidades poéticas. Los determina, a veces, la mera simultaneidad. Hay objetos compuestos de dos términos, uno de carácter visual y otro auditivo: el color del naciente y el remoto grito de un pájaro. Los hay de muchos: el sol y el agua contra el pecho del nadador, el vago rosa trémulo que se ve con los ojos cerrados, la sensación de quien se deja llevar por un río y también por el sueño. Esos objetos de segundo grado pueden combinarse con otros; el proceso, mediante ciertas abreviaturas, es prácticamente infinito. Hay poemas famosos compuestos de una sola enorme palabra. Esta palabra integra un '' objeto poético'' creado por el autor. El hecho de que nadie crea en la realidad de los sustantivos hace, paradójicamente, que sea interminable su número. Los idiomas del hemisferio boreal de Tlön poseen todos los nombres de las lenguas indoeuropeas y otros muchos más. |- | class="en"|It is no exaggeration to state that the classic culture of Tlön comprises only one discipline: psychology. All others are subordinated to it. I have said that the men of this planet conceive the universe as a series of mental processes which do not develop in space but successively in time. Spinoza ascribes to his inexhaustible divinity the attributes of extension and thought; no one in Tlön would understand the juxtaposition of the first (which is typical only of certain states) and the second - which is a perfect synonym of the cosmos. In other words, they do not conceive that the spatial persists in time. The perception of a cloud of smoke on the horizon and then of the burning field and then of the half-extinguished cigarette that produced the blaze is considered an example of association of ideas. | class="es" lang="es"|No es exagerado afirmar que la cultura clásica de Tlön comprende una sola disciplina: la psicología. Las otras están subordinadas a ella. He dicho que los hombres de ese planeta conciben el universo como una serie de procesos mentales, que no se desenvuelven en el espacio sino de modo sucesivo en el tiempo. Spinoza atribuye a su inagotable divinidad los atributos de la extensión y del pensamiento; nadie comprendería en Tlön la yuxtaposición del primero (que sólo es típico de ciertos estados) y del segundo -que es un sinónimo perfecto del cosmos-. Dicho sea con otras palabras: no conciben que lo espacial perdure en el tiempo. La percepción de una humareda en el horizonte y después del campo incendiado y después del cigarro a medio apagar que produjo la quemazón es considerada un ejemplo de asociación de ideas. |- | class="en"|This monism or complete idealism invalidates all science. If we explain (or judge) a fact, we connect it with another; such linking, in Tlön, is a later state of the subject which cannot affect or illuminate the previous state. Every mental state is irreducible: there mere fact of naming it - i.e., of classifying it - implies a falsification. From which it can be deduced that there are no sciences on Tlön, not even reasoning. The paradoxical truth is that they do exist, and in almost uncountable number. The same thing happens with philosophies as happens with nouns in the northern hemisphere. The fact that every philosophy is by definition a dialectical game, a Philosophie des Als Ob, has caused them to multiply. There is an abundance of incredible systems of pleasing design or sensational type. The metaphysicians of Tlön do not seek for the truth or even for verisimilitude, but rather for the astounding. They judge that metaphysics is a branch of fantastic literature. They know that a system is nothing more than the subordination of all aspects of the universe to any one such aspect. Even the phrase "all aspects" is rejectable, for it supposes the impossible addition of the present and of all past moments. Neither is it licit to use the plural "past moments," since it supposes another operation... One of the schools of Tlön goes so far as to negate time: it reasons that the present is indefinite, that the future has no reality other than as a present memory [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note2 (2)]. Another school declares that all time has already transpired and that our life is only the crepuscular and no doubt falsified an mutilated memory or reflection of an irrecoverable process. Another, that the history of the universe - and in it our lives and the most tenuous detail of our lives - is the scripture produced by a subordinate god in order to communicate with a demon. Another, that the universe is comparable to those cryptographs in which not all the symbols are valid and that only what happens every three hundred nights is true. Another, that while we sleep here, we are awake elsewhere and that in this way every man is two men. | class="es" lang="es"|Este monismo o idealismo total invalida la ciencia. Explicar (o juzgar) un hecho es unirlo a otro; esa vinculación, en Tlön, es un estado posterior del sujeto, que no puede afectar o iluminar el estado anterior. Todo estado mental es irreductible: el mero hecho de nombrarlo -''id est'', de clasificarlo- importa un falseo. De ello cabría deducir que no hay ciencias en Tlön -ni siquiera razonamientos. La paradójica verdad es que existen, en casi innumerable número. Con las filosofías acontece lo que acontece con los sustantivos en el hemisferio boreal. El hecho de que toda filosofía sea de antemano un juego dialéctico, una'' Philosophie des Als Ob'', ha contribuido a multiplicarlas. Abundan los sistemas increíbles, pero de arquitectura agradable o de tipo sensacional. Los metafísicos de Tlön no buscan la verdad ni siquiera la verosimilitud: buscan el asombro. Juzgan que la metafísica es una rama de la literatura fantástica. Saben que un sistema no es otra cosa que la subordinación de todos los aspectos del universo a uno cualquiera de ellos. Hasta la frase "todos los aspectos" es rechazable, porque supone la imposible adición del instante presente y de los pretéritos. Tampoco es lícito el plural "los pretéritos", porque supone otra operación imposible... Una de las escuelas de Tlön llega a negar el tiempo: razona que el presente es indefinido, que el futuro no tiene realidad sino como esperanza presente, que el pasado no tiene realidad sino como recuerdo presente[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note2 (2)]. Otra escuela declara que ha transcurrido ya ''todo el tiempo'' y que nuestra vida es apenas el recuerdo o reflejo crepuscular, y sin duda falseado y mutilado, de un proceso irrecuperable. Otra, que la historia del universo -y en ellas nuestras vidas y el más tenue detalle de nuestras vidas- es la escritura que produce un dios subalterno para entenderse con un demonio. Otra, que el universo es comparable a esas criptografías en las que no valen todos los símbolos y que sólo es verdad lo que sucede cada trescientas noches. Otra, que mientras dormimos aquí, estamos despiertos en otro lado y que así cada hombre es dos hombres. |- | class="en"|Amongst the doctrines of Tlön, none has merited the scandalous reception accorded to materialism. Some thinkers have formulated it with less clarity than fervor, as one might put forth a paradox. In order to facilitate the comprehension of this inconceivable thesis, a heresiarch of the eleventh century [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note3 (3)] devised the sophism of the nine copper coins, whose scandalous renown is in Tlön equivalent to that of the Eleatic paradoxes. There are many versions of this "specious reasoning," which vary the number of coins and the number of discoveries; the following is the most common: | class="es" lang="es"|Entre las doctrinas de Tlön, ninguna ha merecido tanto escándalo como el materialismo. Algunos pensadores lo han formulado, con menos claridad que fervor, como quien adelanta una paradoja. Para facilitar el entendimiento de esa tesis inconcebible, un heresiarca del undécimo siglo[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note3 (3)] ideó el sofisma de las nueve monedas de cobre, cuyo renombre escandaloso equivale en Tlön al de las aporías eleáticas. De ese "razonamiento especioso" hay muchas versiones, que varían el número de monedas y el número de hallazgos; he aquí la más común: |- | class="en"|On Tuesday, X crosses a deserted road and loses nine copper coins. On Thursday, Y finds in the road four coins, somewhat rusted by Wednesday's rain. On Friday, Z discovers three coins in the road. On Friday morning, X finds two coins in the corridor of his house. The heresiarch would deduce from this story the reality - i.e., the continuity - of the nine coins which were recovered. It is absurd (he affirmed) to imagine that four of the coins have not existed between Tuesday and Thursday, three between Tuesday and Friday afternoon, two between Tuesday and Friday morning. It is logical to think that they have existed - at least in some secret way, hidden from the comprehension of men - at every moment of those three periods. | class="es" lang="es"|''El martes, X atraviesa un camino desierto y pierde nueve monedas de cobre. El jueves, Y encuentra en el camino cuatro monedas, algo herrumbradas por la lluvia del miércoles. El viernes, Z descubre tres monedas en el camino. El viernes de mañana, X encuentra dos monedas en el corredor de su casa''. El heresiarca quería deducir de esa historia la realidad -''id est'' la continuidad- de las nueve monedas recuperadas. ''Es absurdo'' (afirmaba) ''imaginar que cuatro de las monedas no han existido entre el martes y el jueves, tres entre e1 martes y la tarde del viernes, dos entre el martes y la madrugada del viernes. Es lógico pensar que han existido -siquiera de algún modo secreto, de comprensión vedada a los hombres- en todos los momentos de esos tres plazos''. |- | class="en"|The language of Tlön resists the formulation of this paradox; most people did not even understand it. The defenders of common sense at first did no more than negate the veracity of the anecdote. They repeated that it was a verbal fallacy, based on the rash application of two neologisms not authorized by usage and alien to all rigorous thought: the verbs "find" and "lose," which beg the question, because they presuppose the identity of the first and of the last nine coins. They recalled that all nouns (man, coin, Thursday, Wednesday, rain) have only a metaphorical value. They denounced the treacherous circumstance "somewhat rusted by Wednesday's rain," which presupposes what is trying to be demonstrated: the persistence of the four coins from Tuesday to Thursday. They explained that equality is one thing and identity another, and formulated a kind of reductio ad absurdum: the hypothetical case of nine men who on nine nights suffer a severe pain. Would it not be ridiculous - they questioned - to pretend that this pain is one and the same?[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note4 (4)] They said that the heresiarch was prompted only by the blasphemous intention of attributing the divine category of being to some simple coins and that at times he negated plurality and at other times did not. They argued: if equality implies identity, one would also have to admit that the nine coins are one. | class="es" lang="es"|El lenguaje de Tlön se resistía a formular esa paradoja; los más no la entendieron. Los defensores del sentido común se limitaron, al principio, a negar la veracidad de la anécdota. Repitieron que era una falacia verbal, basada en el empleo temerario de dos voces neológicas, no autorizadas por el uso y ajenas a todo pensamiento severo: los verbos ''encontrar y perder'', que comportan una petición de principio, porque presuponen la identidad de las nueve primeras monedas y de las últimas. Recordaron que todo sustantivo (hombre, moneda, jueves, miércoles, lluvia) sólo tiene un valor metafórico. Denunciaron la pérfida circunstancia '' algo herrumbradas por la lluvia del miércoles,'' que presupone lo que se trata de demostrar: la persistencia de las cuatro monedas, entre el jueves y el martes. Explicaron que una cosa es ''igualdad'' y otra ''identidad'' y formularon una especie de ''reductio ad absurdum'', o sea el caso hipotético de nueve hombres que en nueve sucesivas noches padecen un vivo dolor. ¿No sería ridículo -interrogaron- pretender que ese dolor es el mismo?[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note4 (4)] Dijeron que al heresiarca no lo movía sino el blasfematorio propósito de atribuir la divina categoría de ''ser'' a unas simples monedas y que a veces negaba la pluralidad y otras no. Argumentaron: si la igualdad comporta la identidad, habría que admitir asimismo que las nueve monedas son una sola. |- | class="en"|Unbelievably, these refutations were not definitive. A hundred years after the problem was stated, a thinker no less brilliant than the heresiarch but of orthodox tradition formulated a very daring hypothesis. This happy conjecture affirmed that there is only one subject, that this indivisible subject is every being in the universe and that these beings are the organs and masks of the divinity. X is Y and is Z. Z discovers three coins because he remembers that X lost them; X finds two in the corridor because he remembers that the others have been found... The Eleventh Volume suggests that three prime reasons determined the complete victory of this idealist pantheism. The first, its repudiation of solipsism; the second, the possibility of preserving the psychological basis of the sciences; the third, the possibility of preserving the cult of the gods. Schopenhauer (the passionate and lucid Schopenhauer) formulates a very similar doctrine in the first volume of Parerga und Paralipomena. | class="es" lang="es"|Increíblemente, esas refutaciones no resultaron definitivas. A los cien años de enunciado el problema, un pensador no menos brillante que el heresiarca pero de tradición ortodoxa, formuló una hipótesis muy audaz. Esa conjetura feliz afirma que hay un solo sujeto, que ese sujeto indivisible es cada uno de los seres del universo y que éstos son los órganos y máscaras de la divinidad. X es Y y es Z. Z descubre tres monedas porque recuerda que se le perdieron a X; X encuentra dos en el corredor porque recuerda que han sido recuperadas las otras... El Onceno Tomo deja entender que tres razones capitales determinaron la victoria total de ese panteísmo idealista. La primera, el repudio del solipsismo; la segunda, la posibilidad de conservar la base psicológica de las ciencias; la tercera, la posibilidad de conservar el culto de los dioses. Schopenhauer (el apasionado y lúcido Schopenhauer) formula una doctrina muy parecida en el primer volumen de ''Parerga und Paralipomena''. |- | class="en"|The geometry of Tlön comprises two somewhat different disciplines: the visual and the tactile. The latter corresponds to our own geometry and is subordinated to the first. The basis of visual geometry is the surface, not the point. This geometry disregards parallel lines and declares that man in his movement modifies the forms which surround him. The basis of its arithmetic is the notion of indefinite numbers. They emphasize the importance of the concepts of greater and lesser, which our mathematicians symbolize as > and <. They maintain that the operation of counting modifies the quantities and converts them from indefinite into definite sums. The fact that several individuals who count the same quantity would obtain the same result is, for the psychologists, an example of association of ideas or of a good exercise of memory. We already know that in Tlön the subject of knowledge is on and eternal. | class="es" lang="es"|La geometría de Tlön comprende dos disciplinas algo distintas: la visual y la táctil. La última corresponde a la nuestra y la subordinan a la primera. La base de la geometría visual es la superficie, no el punto. Esta geometría desconoce las paralelas y declara que el hombre que se desplaza modifica las formas que lo circundan. La base de su aritmética es la noción de números indefinidos. Acentúan la importancia de los conceptos de mayor y menor, que nuestros matemáticos simbolizan por > y por <, Afirman que la operación de contar modifica las cantidades y las convierte de indefinidas en definidas. El hecho de que varios individuos que cuentan una misma cantidad logran un resultado igual, es para los psicólogos un ejemplo de asociación de ideas o de buen ejercicio de la memoria. Ya sabemos que en Tlön el sujeto del conocimiento es uno y eterno. |- | class="en"|In literary practices the idea of a single subject is also all-powerful. It is uncommon for books to be signed. The concept of plagiarism does not exist: it has been established that all works are the creation of one author, who is atemporal and anonymous. The critics often invent authors: they select two dissimilar works - the Tao Te Ching and the 1001 Nights, say - attribute them to the same writer and then determine most scrupulously the psychology of this interesting homme de lettres... | class="es" lang="es"|En los hábitos literarios también es todopoderosa la idea de un sujeto único. Es raro que los libros estén firmados. No existe el concepto del plagio: se ha establecido que todas las obras son obra de un solo autor, que es intemporal y es anónimo. La crítica suele inventar autores: elige dos obras disímiles -el Tao Te King y las 1001 Noches, digamos-, las atribuye a un mismo escritor y luego determina con probidad la psicología de ese interesante ''homme de lettres''... |- | class="en"|Their books are also different. Works of fiction contain a single plot, with all its imaginable permutations. Those of a philosophical nature invariably include both the thesis and the antithesis, the rigorous pro and con of a doctrine. A book which does not contain its counterbook is considered incomplete. | class="es" lang="es"|También son distintos los libros. Los de ficción abarcan un solo argumento, con todas las permutaciones imaginables. Los de naturaleza filosófica invariablemente contienen la tesis y la antítesis, el riguroso pro y el contra de una doctrina. Un libro que no encierra su contralibro es considerado incompleto. |- | class="en"|Centuries and centuries of idealism have not failed to influence reality. In the most ancient regions of Tlön, the duplication of lost objects is not infrequent. Two persons look for a pencil; the first finds it and says nothing; the second finds a second pencil, no less real, but closer to his expectations. These secondary objects are called hrönir and are, though awkward in form, somewhat longer. Until recently, the hrönir were the accidental products of distraction and forgetfulness. It seems unbelievable that their methodical production dates back scarcely a hundred years, but this is what the Eleventh Volume tells us. The first efforts were unsuccessful. However, the modus operandi merits description. The director of one of the state prisons told his inmates that there were certain tombs in an ancient river bed and promised freedom to whoever might make an important discovery. During the months preceding the excavation the inmates were shown photographs of what they were to find. This first effort proved that expectation and anxiety can be inhibitory; a week's work with pick and shovel did not mange to unearth anything in the way of a hrön except a rusty wheel of a period posterior to the experiment. But this was kept in secret and the process was repeated later in four schools. In three of them failure was almost complete; in a fourth (whose director died accidentally during the first excavations) the students unearthed - or produced - a gold mask, an archaic sword, two or three clay urns and the moldy and mutilated torso of a king whose chest bore an inscription which it has not yet been possible to decipher. Thus was discovered the unreliability of witnesses who knew of the experimental nature of the search... Mass investigations produce contradictory objects; now individual and almost improvised jobs are preferred. The methodical fabrication of hrönir (says the Eleventh Volume) has performed prodigious services for archaeologists. It has made possible the interrogation and even the modification of the past, which is now no less plastic and docile than the future. Curiously, the hrönir of second and third degree - the hrönir derived from another hrön, those derived from the hrön of a hrön - exaggerate the aberrations of the initial one; those of fifth degree are almost uniform; those of ninth degree become confused with those of the second; in those of the eleventh there is a purity of line not found in the original. The process is cyclical: the hrön of the twelfth degree begins to fall off in quality. Stranger and more pure than any hrön is, at times, the ur: the object produced through suggestion, educed by hope. The great golden mask I have mentioned is an illustrious example. | class="es" lang="es"|Siglos y siglos de idealismo no han dejado de influir en la realidad. No es infrecuente, en las regiones más antiguas de Tlön, la duplicación de objetos perdidos. Dos personas buscan un lápiz; la primera lo encuentra y no dice nada; la segunda encuentra un segundo lápiz no menos real, pero más ajustado a su expectativa. Esos objetos secundarios se llaman ''hrönir'' y son, aunque de forma desairada, un poco más largos. Hasta hace poco los ''hrönir'' fueron hijos casuales de la distracción y el olvido. Parece mentira que su metódica producción cuente apenas cien años, pero así lo declara el Onceno Tomo. Los primeros intentos fueron estériles. El ''modus operandí'', sin embargo, merece recordación. El director de una de las cárceles del estado comunicó a los presos que en el antiguo lecho de un río había ciertos sepulcros y prometió la libertad a quienes trajeran un hallazgo importante. Durante los meses que precedieron a la excavación les mostraron láminas fotográficas de lo que iban a hallar. Ese primer intento probó que la esperanza y la avidez pueden inhibir; una semana de trabajo con la pala y el pico no logró exhumar otro '' hrön'' que una rueda herrumbrada, de fecha posterior al experimento. Éste se mantuvo secreto y se repitió después en cuatro colegios. En tres fue casi total el fracaso; en el cuarto (cuyo director murió casualmente durante las primeras excavaciones) los discípulos exhumaron -o produjeron- una máscara de oro, una espada arcaica, dos o tres ánforas de barro y el verdinoso y mutilado torso de un rey con una inscripción en el pecho que no se ha logrado aún descifrar. Así se descubrió la improcedencia de testigos que conocieran la naturaleza experimental de la busca... Las investigaciones en masa producen objetos contradictorios; ahora se prefiere los trabajos individuales y casi improvisados. La metódica elaboración de ''hrönir'' (dice el Onceno Tomo) ha prestado servicios prodigiosos a los arqueólogos. Ha permitido interrogar y hasta modificar el pasado, que ahora no es menos plástico y menos dócil que el porvenir. Hecho curioso: los ''hrönir'' de segundo y de tercer grado -los ''hrönir'' derivados de otro ''hrön'', los ''hrönir'' derivados del ''hrön'' de un ''hrön''- exageran las aberraciones del inicial; los de quinto son casi uniformes; los de noveno se confunden con los de segundo; en los de undécimo hay una pureza de líneas que los originales no tienen. El proceso es periódico: el ''hrön'' de duodécimo grado ya empieza a decaer. Más extraño y más puro que todo hrön es a veces el ''ur'': la cosa producida por sugestión, el objeto educido por la esperanza. La gran máscara de oro que he mencionado es un ilustre ejemplo. |- | class="en"|Things became duplicated in Tlön; they also tend to become effaced and lose their details when they are forgotten. A classic example is the doorway which survived so long as it was visited by a beggar and disappeared at his death. At times some birds, a horse, have saved the ruins of an amphitheater. | class="es" lang="es"|Las cosas se duplican en Tlön; propenden asimismo a borrarse y a perder los detalles cuando los olvida la gente. Es clásico el ejemplo de un umbral que perduró mientras lo visitaba un mendigo y que se perdió de vista a su muerte. A veces unos pájaros, un caballo, han salvado las ruinas de un anfiteatro. |} -- ''Salto Oriental, 1940.'' ===Postscript/Posdata (1947)=== [[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#top top]] {| | class="en"|I reproduce the preceding article just as it appeared in the Anthology of Fantastic Literature (1940), with no omission other than that of a few metaphors and a kind of sarcastic summary which now seems frivolous. So many things have happened since then... I shall do no more than recall them here. | class="es" lang="es"|Reproduzco el artículo anterior tal como apareció en la'' Antología de la literatura fantástica'', 1940, sin otra escisión que algunas metáforas y que una especie de resumen burlón que ahora resulta frívolo. Han ocurrido tantas cosas desde esa fecha... Me limitaré a recordarlas. |- | class="en"|In March of 1941 a letter written by Gunnary Erfjord was discovered in a book by Hinton which had belonged to Herbert Ashe. The envelope bore a cancellation from Ouro Preto; the letter completely elucidated the mystery of Tlön. Its text corroborated the hypotheses of Martinez Estrada. One night in Lucerne or in London, in the early seventeenth century, the splendid history has its beginning. A secret and benevolent society (amongst whose members were Dalgarno and later George Berkeley) arose to invent a country. Its vague initial program included "hermetic studies," philanthropy and the cabala. From this first period dates the curious book by Andrea. After a few years of secret conclaves and premature syntheses it was understood that one generation was not sufficient to give articulate form to a country. They resolved that each of the masters should elect a disciple who would continue his work. This hereditary arrangement prevailed; after an interval of two centuries the persecuted fraternity sprang up again in America. In 1824, in Memphis (Tennessee), one of its affiliates conferred with the ascetic millionaire Ezra Buckley. The latter, somewhat disdainfully, let him speak - and laughed at the plan's modest scope. He told the agent that in America it was absurd to invent a country and proposed the invention of a planet. To this gigantic idea he added another, a product of his nihilism[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note5 (5)]: that of keeping the enormous enterprise a secret. At that time the twenty volumes of the Encyclopaedia Britannica were circulating in the United States; Buckley suggested that a methodical encyclopedia of the imaginary planet be written. He was to leave them his mountains of gold, his navigable rivers, his pasture lands roamed by cattle and buffalo, his Negroes, his brothels and his dollars, on one condition: "The work will make no pact with the impostor Jesus Christ." Buckley did not believe in God, but he wanted to demonstrate to this nonexistent God that mortal man was capable of conceiving a world. Buckley was poisoned in Baton Rouge in 1828; in 1914 the society delivered to its collaborators, some three hundred in number, the last volume of the First Encyclopedia of Tlön. The edition was a secret one; its forty volumes (the vastest undertaking ever carried out by man) would be the basis for another more detailed edition, written not in English but in one of the languages of Tlön. This revision of an illusory world, was called, provisionally, Orbis Tertius and one of its modest demiurgi was Herbert Ashe, whether as an agent of Gunnar Erfjord or as an affiliate, I do not know. His having received a copy of the Eleventh Volume would seem to favor the latter assumption. But what about the others? | class="es" lang="es"|En marzo de 1941 se descubrió una carta manuscrita de Gunnar Erfjord en un libro de Hinton que había sido de Herbert Ashe. El sobre tenía el sello postal de Ouro Preto, la carta elucidaba enteramente el misterio de Tlön. Su texto corrobora las hipótesis de Martínez Estrada. A principios del siglo XVII, en una noche de Lucerna o de Londres, empezó la espléndida historia. Una sociedad secreta y benévola (que entre sus afilados tuvo a Dalgarno y después a George Berkeley) surgió para inventar un país. En el vago programa inicial figuraban los "estudios herméticos", la filantropía y la cábala. De esa primera época data el curioso libro de Andreä. Al cabo de unos años de conciliábulos y de síntesis prematuras comprendieron que una generación no bastaba para articular un país. Resolvieron que cada uno de los maestros que la integraban eligiera un discípulo para la continuación de la obra. Esa disposición hereditaria prevaleció; después de un hiato de dos siglos la perseguida fraternidad resurge en América. Hacia 1824, en Memphis (Tennessee) uno de los afiliados conversa con el ascético millonario Ezra Buckley. Éste lo deja hablar con algún desdén -y se ríe de la modestia del proyecto. Le dice que en América es absurdo inventar un país y le propone la invención de un planeta. A esa gigantesca idea añade otra, hija de su nihilismo[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note5 (5)]: la de guardar en el silencio la empresa enorme. Circulaban entonces los veinte tomos de la ''Encyclopaedia Britannica''; Buckley sugiere una enciclopedia metódica del planeta ilusorio. Les dejará sus cordilleras auríferas, sus ríos navegables, sus praderas holladas por el toro y por el bisonte, sus negros, sus prostíbulos y sus dólares, bajo una condición: "La obra no pactará con el impostor Jesucristo." Buckley descree de Dios, pero quiere demostrar al Dios no existente que los hombres mortales son capaces de concebir un mundo. Buckley es envenenado en Baton Rouge en 1828; en 1914 la sociedad remite a sus colaboradores, que son trescientos, el volumen final de la Primera Enciclopedia de Tlön. La edición es secreta: los cuarenta volúmenes que comprende (la obra más vasta que han acometido los hombres) serían la base de otra más minuciosa, redactada no ya en inglés, sino en alguna de las lenguas de Tlön. Esa revisión de un mundo ilusorio se llama provisoriamente ''Orbis Tertius'' y uno de sus modestos demiurgos fue Herbert Ashe, no sé si como agente de Gunnar Erfjord o como afiliado. Su recepción de un ejemplar del Onceno Tomo parece favorecer lo segundo. Pero ¿y los otros? |- | class="en"|In 1942 events became more intense. I recall one of the first of these with particular clarity and it seems that I perceived then something of its premonitory character. It happened in an apartment on Laprida Street, facing a high and light balcony which looked out toward the sunset. Princess Faucigny Lucinge had received her silverware from Poitiers. From the vast depths of a box embellished with foreign stamps, delicate immobile objects emerged: silver from Utrecht and Paris covered with hard heraldic fauna, and a samovar. Amongst them - with the perceptible and tenuous tremor of a sleeping bird - a compass vibrated mysteriously. The princess did not recognize it. Its blue needle longed from magnetic north; its metal case was concave in shape; the letters around its edge corresponded to one of the alphabets of Tlön. Such was the first intrusion of this fantastic world into the world of reality. | class="es" lang="es"|Hacia 1942 arreciaron los hechos. Recuerdo con singular nitidez uno de los primeros y me parece que algo sentí de su carácter premonitorio. Ocurrió en un departamento de la calle Laprida, frente a un claro y alto balcón que miraba el ocaso. La princesa de Faucigny Lucinge había recibido de Poitiers su vajilla de plata. Del vasto fondo de un cajón rubricado de sellos internacionales iban saliendo finas cosas inmóviles: platería de Utrecht y de París con dura fauna heráldica, un samovar. Entre ellas -con un perceptible y tenue temblor de pájaro dormido- latía misteriosamente una brújula. La princesa no la reconoció. La aguja azul anhelaba el norte magnético; la caja de metal era cóncava; las letras de la esfera correspondían a uno de los alfabetos de Tlön. Tal fue la primera intrusión del mundo fantástico en el mundo real. |- | class="en"|I am still troubled by the stroke of chance which made me witness of the second intrusion as well. It happened some months later, at a country store owned by a Brazilian in Cuchilla Negra. Amorim and I were returning from Sant' Anna. The River Tacuarembo had flooded and we were obliged to sample (and endure) the proprietor's rudimentary hospitality. He provided us with some creaking cots in a large room cluttered with barrels and hides. We went to bed, but were kept from sleeping until dawn by the drunken ravings of an unseen neighbor, who intermingled inextricable insults with snatches of milongas - or rather with snatches of the same milonga. As might be supposed, we attributed this insistent uproar to the store owner's fiery cane liquor. By daybreak, the man was dead in the hallway. The roughness of his voice had deceived us: he was only a youth. In his delirium a few coins had fallen from his belt, along with a cone of bright metal, the size of a die. In vain a boy tried to pick up this cone. A man was scarcely able to raise it from the ground. It held in my hand for a few minutes; I remember that its weight was intolerable and that after it was removed, the feeling of oppressiveness remained. I also remember the exact circle it pressed into my palm. The sensation of a very small and at the same time extremely heavy object produced a disagreeable impression of repugnance and fear. One of the local men suggested we throw it into the swollen river; Amorim acquired it for a few pesos. No one knew anything about the dead man, except that "he came from the border." These small, very heavy cones (made from a metal which is not of this world) are images of the divinity in certain regions of Tlön. | class="es" lang="es"|Un azar que me inquieta hizo que yo también fuera testigo de la segunda. Ocurrió unos meses después, en la pulpería de un brasilero, en la Cuchilla Negra. Amorim y yo regresábamos de Sant'Anna. Una creciente del río Tacuarembó nos obligó a probar (y a sobrellevar) esa rudimentaria hospitalidad. El pulpero nos acomodó unos catres crujientes en una pieza grande, entorpecida de barriles y cueros. Nos acostamos, pero no nos dejó dormir hasta el alba la borrachera de un vecino invisible, que alternaba denuestos inextricables con rachas de milongas -más bien con rachas de una sola milonga. Como es de suponer, atribuimos a la fogosa caña del patrón ese griterío insistente... A la madrugada, el hombre estaba muerto en el corredor. La aspereza de la voz nos había engañado: era un muchacho joven. En el delirio se le habían caído del tirador unas cuantas monedas y un cono de metal reluciente, del diámetro de un dado. En vano un chico trató de recoger ese cono. Un hombre apenas acertó a levantarlo. Yo lo tuve en la palma de la mano algunos minutos: recuerdo que su peso era intolerable y que después de retirado el cono, la opresión perduró. También recuerdo el círculo preciso que me grabó en la carne. Esa evidencia de un objeto muy chico y a la vez pesadísimo dejaba una impresión desagradable de asco y de miedo. Un paisano propuso que lo tiraran al río correntoso. Amorim lo adquirió mediante unos pesos. Nadie sabía nada del muerto, salvo "que venía de la frontera". Esos conos pequeños y muy pesados (hechos de un metal que no es de este mundo) son imagen de la divinidad, en ciertas religiones de Tlön. |- | class="en"|Here I bring the personal part of my narrative to a close. The rest is in the memory (if not in the hopes or fears) of all my readers. Let it suffice for me to recall or mention the following facts, with a mere brevity of words which the reflective recollection of all will enrich or amplify. Around 1944, a person doing research for the newspaper The American (of Nashville, Tennessee) brought to light in a Memphis library the forty volumes of the First Encyclopedia of Tlön. Even today there is a controversy over whether this discovery was accidental or whether it was permitted by the directors of the still nebulous Orbis Tertius. The latter is most likely. Some of the incredible aspects of the Eleventh Volume (for example, the multiplication of the hrönir) have been eliminated or attenuated in the Memphis copies; it is reasonable to imagine that these omissions follow the plan of exhibiting a world which is not too incompatible with the real world. The dissemination of objects from Tlön over different countries would complement this plan...[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note6 (6)] The fact is that the international press infinitely proclaimed the "find." Manuals, anthologies, summaries, literal versions, authorized re-editions and pirated editions of the Greatest Work of Man flooded and still flood the earth. Almost immediately, reality yielded on more than one account. The truth is that it longed to yield. Ten years ago any symmetry with a resemblance of order - dialectical materialism, anti-Semitism, Nazism - was sufficient to entrance the minds of men. How could one do other than submit to Tlön, to the minute and vast evidence of an orderly planet? It is useless to answer that reality is also orderly. Perhaps it is, but in accordance with divine laws - I translate: inhuman laws - which we never quite grasp. Tlön is surely a labyrinth, but it is a labyrinth devised by men, a labyrinth destined to be deciphered by men. | class="es" lang="es"|Aquí doy término a la parte personal de mi narración. Lo demás está en la memoria (cuando no en la esperanza o en el temor) de todos mis lectores. Básteme recordar o mencionar los hechos subsiguientes, con una mera brevedad de palabras que el cóncavo recuerdo general enriquecerá o ampliará. Hacia 1944 un investigador del diario ''The American'' (de Nashville, Tennessee) exhumó en una biblioteca de Memphis los cuarenta volúmenes de la Primera Enciclopedia de Tlön. Hasta el día de hoy se discute si ese descubrimiento fue casual o si lo consintieron los directores del todavía nebuloso ''Orbis Tertius''. Es verosímil lo segundo. Algunos rasgos increíbles del Onceno Tomo (verbigracia, la multiplicación de los ''hrönir'') han sido eliminados o atenuados en el ejemplar de Memphis; es razonable imaginar que esas tachaduras obedecen al plan de exhibir un mundo que no sea demasiado incompatible con el mundo real. La diseminación de objetos de Tlön en diversos países complementaría ese plan...[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note6 (6)] El hecho es que la prensa internacional voceó infinitamente el "hallazgo". Manuales, antologías, resúmenes, versiones literales, reimpresiones autorizadas y reimpresiones piráticas de la Obra Mayor de los Hombres abarrotaron y siguen abarrotando la tierra. Casi inmediatamente, la realidad cedió en más de un punto. Lo cierto es que anhelaba ceder. Hace diez años bastaba cualquier simetría con apariencia de orden -el materialismo dialéctico, el antisemitismo, el nazismo- para embelesar a los hombres. ¿Cómo no someterse a Tlön, a la minuciosa y vasta evidencia de un planeta ordenado? Inútil responder que la realidad también está ordenada. Quizá lo esté, pero de acuerdo a leyes divinas -traduzco: a leyes inhumanas- que no acabamos nunca de percibir. Tlön será un laberinto, pero es un laberinto urdido por hombres, un laberinto destinado a que lo descifren los hombres. |- | class="en"|The contact and the habit of Tlön have disintegrated this world. Enchanted by its rigor, humanity forgets over and again that it is a rigor of chess masters, not of angels. Already the schools have been invaded by the (conjectural) "primitive language" of Tlön; already the teaching of its harmonious history (filled with moving episodes) has wiped out the one which governed in my childhood; already a fictitious past occupies in our memories the place of another, a past of which we know nothing with certainty - not even a that it is false. Numismatology, pharmacology and archeology have been reformed. I understand that biology and mathematics also await their avatars... A scattered dynasty of solitary men has changed the face of the world. Their task continues. If our forecasts are not in error, a hundred years from now someone will discover the hundred volumes of the Second Encyclopedia of Tlön. | class="es" lang="es"|El contacto y el hábito de Tlön han desintegrado este mundo. Encantada por su rigor, la humanidad olvida y torna a olvidar que es un rigor de ajedrecistas, no de ángeles. Ya ha penetrado en las escuelas el (conjetural), "idioma primitivo" de Tlön; ya la enseñanza de su historia armoniosa (y llena de episodios conmovedores) ha obliterado a la que presidió mi niñez; ya en las memorias un pasado ficticio ocupa el sitio de otro, del que nada sabemos con certidumbre -ni siquiera que es falso. Han sido reformadas la numismática, la farmacología y la arqueología. Entiendo que la biología y las matemáticas aguardan también su avatar... Una dispersa dinastía de solitarios ha cambiado la faz del mundo. Su tarea prosigue. Si nuestras previsiones no erran, de aquí a cien años alguien descubrirá los cien tomos de la Segunda Enciclopedia de Tlön. |- | class="en"|Then English and French and mere Spanish will disappear from the globe. The world will be Tlön. I pay no attention to all this and go on revising, in the still days at the Adrogue hotel, an uncertain Quevedian translation (which I do not intend to publish) of Browne's Urn Burial. | class="es" lang="es"|Entonces desaparecerán del planeta el inglés y el francés y el mero español. El mundo será Tlön. Yo no hago caso, yo sigo revisando en los quietos días del hotel de Adrogué una indecisa traducción quevediana (que no pienso dar a la imprenta) del ''Urn Burial'' de Browne. |} [[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#top top]] ===Notes:=== {| | class="en"|1. Haslam has also published A General History of Labyrinths. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#backto1 [Return to text.]] | class="es" lang="es"|1. Haslam ha publicado también ''A General History of Labyrinths.'' [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#regresa1 [Regresa al texto.]] |- | class="en"|2. Russell (The Analysis of Mind, 1921, page 159) supposes that the planet has been created a few minutes ago, furnished with a humanity that "remembers" an illusory past. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#backto2 Return to text.] | class="es" lang="es"|2. Russell. (The Analysis of Mind, 1921, página 159) supone que el planeta ha sido creado hace pocos minutos, provisto de una humanidad que "recuerda" un pasado ilusorio. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#regresa2 [Regresa al texto.]] |- | class="en"|3. A century, according to the duodecimal system, signifies a period of a hundred and forty-four years. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#backto3 Return to text.] | class="es" lang="es"|3. Siglo, de acuerdo con el sistema duodecimal, significa un período de ciento cuarenta y cuatro años. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#regresa3 [Regresa al texto.]] |- | class="en"|4. Today, one of the churches of Tlön Platonically maintains that a certain pain, a certain greenish tint of yellow, a certain temperature, a certain sound, are the only reality. All men, in the vertiginous moment of coitus, are the same man. All men who repeat a line from Shakespeare are William Shakespeare. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#backto4 Return to text.] | class="es" lang="es"|4. En el día de hoy, una de las iglesias de Tlón sostiene platónicamente que tal dolor, que tal matiz verdoso del amarillo, que tal temperatura, que tal sonido, son la única realidad. Todos los hombres, en el veniginoso instante del coito, son el mismo hombre. Todos los hombres que repiten una línea de Shakespeare, ''son'' William Shakespeare. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#regresa4 [Regresa al texto.]] |- | class="en"|5. Buckley was a freethinker, a fatalist, and a defender of slavery. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#backto5 Return to text.] | class="es"|5. Buckley era librepensador, fatalista y defensor de la esclavitud. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#regresa5 [Regresa al texto.]] |- | class="en"|6. There remains, of course, the problem of the material of some objects. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#backto6 Return to text.] | class="es" lang="es"|6. Queda, naturalmente, el problema de la materia de algunos objetos. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#regresa6 [Regresa al texto.]] |} 22roiof8z2a9pymtv378x778gj7tkaf 3928 3926 2010-09-23T05:42:20Z Spritzfellow 3082342 shackin' shackalackin' 3928 wikitext text/x-wiki [[File:Placeholder|right|300px]] W {| | class="es" lang="es"|Debo a la conjunción de un espejo y de una enciclopedia el descubrimiento de Uqbar. El espejo inquietaba el fondo de un corredor en una quinta de la calle Gaona, en Ramos Mejía; la enciclopedia falazmente se llama The ''Anglo-American Cyclopaedía'' (New York, 1917) y es una reimpresión literal, pero también morosa, de la ''Encyclopaedia Britannica'' de 1902. El hecho se produjo hará unos cinco años. Bioy Casares había cenado conmigo esa noche y nos demoró una vasta polémica sobre la ejecución de una novela en primera persona, cuyo narrador omitiera o desfigurara los hechos e incurriera en diversas contradicciones, que permitieran a unos pocos lectores -a muy pocos lectores- la adivinación de una realidad atroz o banal. Desde el fondo remoto del corredor, el espejo nos acechaba. Descubrimos (en la alta noche ese descubrimiento es inevitable) que los espejos tienen algo monstruoso. Entonces Bioy Casares recordó que uno de los heresiarcas de Uqbar había declarado que los espejos y la cópula son abominables, porque multiplican el número de los hombres. Le pregunté el origen de esa memorable sentencia y me contestó que '' The Anglo-American Cyclopaedia'' la registraba, en su artículo sobre Uqbar. La quinta (que habíamos alquilado amueblada) poseía un ejemplar de esa obra. En las últimas páginas del volumen XLVI dimos con un artículo sobre Upsala; en las primeras del XLVII, con uno sobre ''Ural-Altaic Languages'', pero ni una palabra sobre Uqbar. Bioy, un poco azorado, interrogó los tomos del índice. Agotó en vano todas las lecciones imaginables: Ukbar, Ucbar, Ookbar, Oukbahr... Antes de irse, me dijo que era una región del Irak o del Asia Menor. Confieso que asentí con alguna incomodidad. Conjeturé que ese país indocumentado y ese heresiarca anónimo eran una ficción improvisada por la modestia de Bioy para justificar una frase. El examen estéril de uno de los atlas de Justus Perthes fortaleció mi duda. |- | class="en"|The following day, Bioy called me from Buenos Aries. He told me he had before him the article on Uqbar, in volume XLVI of the encyclopedia. The heresiarch's name was not forthcoming, but there was a note on his doctrine, formulated in words almost identical to those he had repeated, though perhaps literally inferior. He had recalled: Copulation and mirrors are abominable. The text of the encyclopedia said: For one of those gnostics, the visible universe was an illusion or (more precisely) a sophism. Mirrors and fatherhood are abominable because they multiply and disseminate that universe. I told him, in all truthfulness, that I should like to see that article. A few days later he brought it. This surprised me, since the scrupulous cartographical indices of Ritter's Erdkunde were plentifully ignorant of the name Uqbar. | class="es" lang="es"|Al día siguiente, Bioy me llamó desde Buenos Aires. Me dijo que tenía a la vista el artículo sobre Uqbar, en el volumen XLVI de la Enciclopedia. No constaba el nombre del heresiarca, pero sí la noticia de su doctrina, formulada en palabras casi idénticas a las repetidas por él, aunque -tal vez- literariamente inferiores. Él había recordado: ''Copulation and mirrors are abominable''. El texto de la Enciclopedia decía'': Para uno de esos gnósticos, el visible universo era una ilusión o (más precisamente) un sofisma. Los espejos y la paternidad son abominables'' (mirrors and fatherhood are hateful)'' porque lo multiplican y lo divulgan''. Le dije, sin faltar a la verdad, que me gustaría ver ese artículo. A los pocos días lo trajo. Lo cual me sorprendió, porque los escrupulosas índices cartográficos de la '' Erdkunde'' de Ritter ignoraban con plenitud el nombre de Uqbar. |- | class="en"|The tome Bioy brought was, in fact, Volume XLVI of the Anglo-American Cyclopaedia. On the half-title page and the spine, the alphabetical marking (Tor-Ups) was that of our copy but, instead of 917, it contained 921 pages. These four additional pages made up the article on Uqbar, which (as the reader will have noticed) was not indicated by the alphabetical marking. We later determined that there was no other difference between the volumes. Both of them (as I believe I have indicated) are reprints of the tenth Encyclopaedia Britannica. Bioy had acquired his copy at some sale or other. | class="es" lang="es"|El volumen que trajo Bioy era efectivamente el XLVI de la ''Anglo-American Cyclopaedia''. En la falsa carátula y en el lomo, la indicación alfabética (Tor-Ups) era la de nuestro ejemplar, pero en vez de 917 páginas constaba de 921. Esas cuatro páginas adicionales comprendían al artículo sobre Uqbar; no previsto (como habrá advertido el lector) por la indicación alfabética. Comprobamos después que no hay otra diferencia entre los volúmenes. Los dos (según creo haber indicado) son reimpresiones de la décima ''Encyclopaedia Britannica''. Bioy había adquirido su ejemplar en uno de tantos remates. |- | class="en"|We read the article with some care. The passage recalled by Bioy was perhaps the only surprising one. The rest of it seemed very plausible, quite in keeping with the general tone of the work and (as is natural) a bit boring. Reading it over again, we discovered beneath its rigorous prose a fundamental vagueness. Of the fourteen names which figured in the geographical part, we only recognized three - Khorasan, Armenia, Erzerum - interpolated in the text in an ambiguous way. Of the historical names, only one: the impostor magician Smerdis, invoked more as a metaphor. The note seemed to fix the boundaries of Uqbar, but its nebulous reference points were rivers and craters and mountain ranges of that same region. We read, for example, that the lowlands of Tsai Khaldun and the Axa Delta marked the southern frontier and that on the islands of the delta wild horses procreate. All this, on the first part of page 918. In the historical section (page 920) we learned that as a result of the religious persecutions of the thirteenth century, the orthodox believers sought refuge on these islands, where to this day their obelisks remain and where it is not uncommon to unearth their stone mirrors. The section on Language and Literature was brief. Only one trait is worthy of recollection: it noted that the literature of Uqbar was one of fantasy and that its epics and legends never referred to reality, but to the two imaginary regions of Mlejnas and Tlön... The bibliography enumerated four volumes which we have not yet found, though the third - Silas Haslam: History of the Land Called Uqbar, 1874 - figures in the catalogs of Bernard Quartich's book shop [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note1 (1)]. The first, Lesbare und lesenswerthe Bemerkungen uber das Land Ukkbar in Klein-Asien, dates from 1641 and is the work of Johannes Valentinus Andrea. This fact is significant; a few years later, I came upon that name in the unsuspected pages of De Quincey (Writings, Volume XIII) and learned that it belonged to a German theologian who, in the early seventeenth century, described the imaginary community of Rosae Crucis - a community that others founded later, in imitation of what he had prefigured. | class="es" lang="es"|Leímos con algún cuidado el artículo. El pasaje recordado por Bioy era tal vez el único sorprendente. El resto parecía muy verosímil, muy ajustado al tono general de la obra y (como es natural) un poco aburrido. Releyéndolo, descubrimos bajo su rigurosa escritura una fundamental vaguedad. De los catorce nombres que figuraban en la parte geográfica, sólo reconocimos tres -Jorasán, Armenia, Erzerum-, interpolados en el texto de un modo ambiguo. De los nombres históricos, uno solo: el impostor Esmerdis el mago, invocado más bien como una metáfora. La nota parecía precisar las fronteras de Uqbar, pero sus nebulosos puntos de referencias eran ríos y cráteres y cadenas de esa misma región. Leímos, verbigracia, que las tierras bajas de Tsai Jaldún y el delta del Axa definen la frontera del sur y que en las islas de ese delta procrean los caballos salvajes. Eso, al principio de la página 918. En la sección histórica (página 920) supimos que a raíz de las persecuciones religiosas del siglo trece, los ortodoxos buscaron amparo en las islas, donde perduran todavía sus obeliscos y donde no es raro exhumar sus espejos de piedra. La sección ''idioma y literatura'' era breve. Un solo rasgo memorable: anotaba que la literatura de Uqbar era de carácter fantástico y que sus epopeyas y sus leyendas no se referían jamás a la realidad, sino a las dos regiones imaginarias de Mlejnas y de Tlön... La bibliografía enumeraba cuatro volúmenes que no hemos encontrado hasta ahora, aunque el tercero -Silas Haslam: ''History of the Land Called Uqbar'', 1874-figura en los catálogos de librería de Bernard Quaritch. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note1 (1)] El primero, ''Lesbare und lesenswerthe Bemerkungen über das Land Ukkbar in Klein-Asien'', data de 1641 y es obra de Johannes Valentinus Andreä. El hecho es significativo; un par de años después, di con ese nombre en las inesperadas páginas de De Quincey (''Writings'', decimotercero volumen) y supe que era el de un teólogo alemán que a principios del siglo XVII describió la imaginaria comunidad de la Rosa-Cruz -que otros luego fundaron, a imitación de lo prefigurado por él. |- | class="en"|That night we visited the National Library. In vain we exhausted atlases, catalogs, annuals of geographical societies, travelers' and historians' memoirs: no one had ever been in Uqbar. Neither did the general index of Bioy's encyclopedia register that name. The following day, Carlos Mastronardi (to whom I had related the matter) noticed the black and gold covers of the Anglo-American Cyclopaedia in a bookshop on Corrientes and Talcahuano... He entered and examined Volume XLVI. Of course, he did not find the slightest indication of Uqbar. | class="es" lang="es"|Esa noche visitamos la Biblioteca Nacional. En vano fatigamos atlas, catálogos, anuarios de sociedades geográficas, memorias de viajeros e historiadores: nadie había estado nunca en Uqbar. El índice general de la enciclopedia de Bioy tampoco registraba ese nombre. Al día siguiente, Carlos Mastronardi (a quien yo había referido el asunto) advirtió en una librería de Corrientes y Talcahuano los negros y dorados lomos de la '' Anglo-American Cyclopaedía''... Entró e interrogó el volumen XLVI Naturalmente, no dio con el menor indicio de Uqbar. |} ===II=== [[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#top top]] {| | class="en"|Some limited and waning memory of Herbert Ashe, an engineer of the southern railways, persists in the hotel at Adrogue, amongst the effusive honeysuckles and in the illusory depths of the mirrors. In his lifetime, he suffered from unreality, as do so many Englishmen; once dead, he is not even the ghost he was then. He was tall and listless and his tired rectangular beard had once been red. I understand he was a widower, without children. Every few years he would go to England, to visit (I judge from some photographs he showed us) a sundial and a few oaks. He and my father had entered into one of those close (the adjective is excessive) English friendships that begin by excluding confidences and very soon dispense with dialog. They used to carry out an exchange of books and newspapers and engage in taciturn chess games... I remember him in the hotel corridor, with a mathematics book in his hand, sometimes looking at the irrecoverable colors of the sky. One afternoon, we spoke of the duodecimal system of numbering (in which twelve is written as 10). Ashe said that he was converting some kind of tables from the duodecimal to the sexagesimal system (in which sixty is written as 10). He added that the task had been entrusted to him by a Norwegian, in Rio Grande du Sul. We had known him for eight years and he had never mentioned in sojourn in that region... We talked of country life, of the capangas, of the Brazilian etymology of the word gaucho (which some old Uruguayans still pronounce gaúcho) and nothing more was said - may God forgive me - of duodecimal functions. In September of 1937 (we were not at the hotel), Herbert Ashe died of a ruptured aneurysm. A few days before, he had received a sealed and certified package from Brazil. It was a book in large octavo. Ashe left it at the bar, where - months later - I found it. I began to leaf through it and experienced an astonished and airy feeling of vertigo which I shall not describe, for this is not the story of my emotions but of Uqbar and Tlön and Orbis Tertius. On one of the nights of Islam called the Night of Nights, the secret doors of heaven open wide and the water in the jars becomes sweeter; if those doors opened, I would not feel what I felt that afternoon. The book was written in English and contained 1001 pages. On the yellow leather back I read these curious words which were repeated on the title page: A First Encyclopedia of Tlön. Vol. XI. Hlaer to Jangr. There was no indication of date or place. On the first page and on a leaf of silk paper that covered on of the color plates there was stamped a blue oval with this inscription: Orbis Tertius. Two years before I had discovered, in a volume of a certain pirated encyclopedia, a superficial description of a nonexistent country; now chance afforded me something more precious and arduous. Now I held in my hands a vast methodical fragment of an unknown planet's entire history, with its architecture and its playing cards, with the dread of its mythologies and the murmur of its languages, with its emperors and its seas, with its minerals and its birds and its fish, with its algebra and its fire, with its theological and metaphysical controversy. And all of it articulated, coherent, with no visible doctrinal intent or tone of parody. | class="es" lang="es"|Algún recuerdo limitado y menguante de Herbert Ashe, ingeniero de los ferrocarriles del Sur, persiste en el hotel de Adrogué, entre las efusivas madreselvas y en el fondo ilusorio de los espejos. En vida padeció de irrealidad, como tantos ingleses; muerto, no es siquiera el fantasma que ya era entonces. Era alto y desganado y su cansada barba rectangular había sido roja. Entiendo que era viudo, sin hijos. Cada tantos años iba a Inglaterra: a visitar (juzgo por unas fotografías que nos mostró) un reloj de sol y unos robles. Mi padre había estrechado con él (el verbo es excesivo) una de esas amistades inglesas que empiezan por excluir la confidencia y que muy pronto omiten el diálogo. Solían ejercer un intercambio de libros y de periódicos; solían batirse al ajedrez, taciturnamente... Lo recuerdo en el corredor del hotel, con un libro de matemáticas en la mano, mirando a veces los colores irrecuperables del cielo. Una tarde, hablamos del sistema duodecimal de numeración (en el que doce se escribe 10). Ashe dijo que precisamente estaba trasladando no sé qué tablas duodecimales a sexagesimales (en las que sesenta se escribe 10). Agregó que ese trabajo le había sido encargado por un noruego: en Rio Grande do Sul. Ocho años que lo conocíamos y no había mencionado nunca su estadía en esa región... Hablamos de vida pastoril, de ''capangas'', de la etimología brasilera de la palabra ''gaucho'' (que algunos viejos orientales todavía pronuncian ''gaúcho'') y nada más se dijo -Dios me perdone- de funciones duodecimales. En setiembre de 1937 (no estábamos nosotros en el hotel) Herbert Ashe murió de la rotura de un aneurisma. Días antes, había recibido del Brasil un paquete sellado y certificado. Era un libro en octavo mayor. Ashe lo dejó en el bar, donde -meses después- lo encontré. Me puse a hojearlo y sentí un vértigo asombrado y ligero que no describiré, porque ésta no es la historia de mis emociones sino de Uqbar y Tlön y Orbis Tertius. En una noche del Islam que se llama la Noche de las Noches se abren de par en par las secretas puertas del cielo y es más dulce el agua en los cántaros; si esas puertas se abrieran, no sentiría lo que en esa tarde sentí. El libro estaba redactado en inglés y lo integraban 1001 páginas. En el amarillo lomo de cuero leí estas curiosas palabras que la falsa carátula repetía: ''A First Encyclopaedia of Tlön. vol. XI. Hlaer to Jangr''. No había indicación de fecha ni de lugar. En la primera página y en una hoja de papel de seda que cubría una de las láminas en colores había estampado un óvalo azul con esta inscripción: ''Orbis Tertius''. Hacía dos años que yo había descubierto en un tomo de cierta enciclopedia práctica una somera descripción de un falso país; ahora me deparaba el azar algo más precioso y más arduo. Ahora tenía en las manos un vasto fragmento metódico de la historia total de un planeta desconocido, con sus arquitecturas y sus barajas, con el pavor de sus mitologías y el rumor de sus lenguas, con sus emperadores y sus mares, con sus minerales y sus pájaros y sus peces, con su álgebra y su fuego, con su controversia teológica y metafísica. Todo ello articulado, coherente, sin visible propósito doctrinal o tono paródico. |- | class="en"|In the "Eleventh Volume" which I have mentioned, there are allusions to preceding and succeeding volumes. In an article in the N. R. F. which is now classic, Nestor Ibarra has denied the existence of those companion volumes; Ezequiel Martinez Estrada and Drieu La Rochelle have refuted that doubt, perhaps victoriously. The fact is that up to now the most diligent inquiries have been fruitless. In vain we have upended the libraries of the two Americas and of Europe. Alfonso Reyes, tired of these subordinate sleuthing procedures, proposes that we should all undertake the task of reconstructing the many and weighty tomes that are lacking: ex ungue leonem. He calculates, half in earnest and half jokingly, that a generation of tlonistas should be sufficient. This venturesome computation brings us back to the fundamental problem: Who are the inventors of Tlön? The plural is inevitable, because the hypothesis of a lone inventor - an infinite Leibniz laboring away darkly and modestly - has been unanimously discounted. It is conjectured that this brave new world is the work of a secret society of astronomers, biologists, engineers, metaphysicians, poets, chemists, algebraists, moralists, painters, geometers... directed by an obscure man of genius. Individuals mastering these diverse disciplines are abundant, but not so those capable of inventiveness and less so those capable of subordinating that inventiveness to a rigorous and systematic plan. This plan is so vast that each writer's contribution is infinitesimal. At first it was believed that Tlön was a mere chaos, and irresponsible license of the imagination; now it is known that is a cosmos and that the intimate laws which govern it have been formulated, at least provisionally. Let it suffice for me to recall that the apparent contradictions of the Eleventh Volume are the fundamental basis for the proof that the other volumes exist, so lucid and exact is the order observed in it. The popular magazines, with pardonable excess, have spread news of the zoology and topography of Tlön; I think its transparent tiger and towers of blood perhaps do not merit the continued attention of all men. I shall venture to request a few minutes to expound its concept of the universe. | class="es" lang="es"|En el "onceno tomo" de que hablo hay alusiones a tomos ulteriores y precedentes. Néstor Ibarra, en un artículo ya clásico de la N. R. F., ha negado que existen esos aláteres; Ezequiel Martínez Estrada y Drieu La Rochelle han refutado, quizá victoriosamente, esa duda. El hecho es que hasta ahora las pesquisas más diligentes han sido estériles. En vano hemos desordenado las bibliotecas de las dos Américas y de Europa. Alfonso Reyes, harto de esas fatigas subalternas de índole policial, propone que entre todos acometamos la obra de reconstruir los muchos y macizos tomos que faltan: ''ex ungue leonem''. Calcula, entre veras y burlas, que una generación de ''tlönistas'' puede bastar. Ese arriesgado cómputo nos retrae al problema fundamental: ¿Quiénes inventaron a Tlön? El plural es inevitable, porque la hipótesis de un solo inventor -de un infinito Leibniz obrando en la tiniebla y en la modestia- ha sido descartada unánimemente. Se conjetura que este ''brave new world'' es obra de una sociedad secreta de astrónomos, de biólogos, de ingenieros, de metafísicos, de poetas, de químicos, de algebristas, de moralistas, de pintores, de geómetras... dirigidos por un oscuro hombre de genio. Abundan individuos que dominan esas disciplinas diversas, pero no los capaces de invención y menos los capaces de subordinar la invención a un riguroso plan sistemático. Ese plan es tan vasto que la contribución de cada escritor es infinitesimal. Al principio se creyó que Tlön era un mero caos, una irresponsable licencia de la imaginación; ahora se sabe que es un cosmos y las íntimas leyes que lo rigen han sido formuladas, siquiera en modo provisional. Básteme recordar que las contradicciones aparentes del Onceno Tomo son la piedra fundamental de la prueba de que existen los otros: tan lúcido y tan justo es el orden que se ha observado en él. Las revistas populares han divulgado, con perdonable exceso, la zoología y la topografía de Tlön; yo pienso que sus tigres transparentes y sus torres de sangre no merecen, tal vez, la continua atención de todos los hombres. Yo me atrevo a pedir unos minutos para su concepto del universo. |- | class="en"|Hume noted for all time that Berkeley's arguments did not admit the slightest refutation nor did they cause the slightest conviction. This dictum is entirely correct in its application to the earth, but entirely false in Tlön. The nations of this planet are congenitally idealist. Their language and the derivations of their language - religion, letters, metaphysics - all presuppose idealism. The world for them is not a concourse of objects in space; it is a heterogeneous series of independent acts. It is successive and temporal, not spatial. There are no nouns in Tlön's conjectural Ursprache, from which the "present" languages and the dialects are derived: there are impersonal verbs, modified by monosyllabic suffixes (or prefixes) with an adverbial value. For example: there is no word corresponding to the word "moon,", but there is a verb which in English would be "to moon" or "to moonate." "The moon rose above the river" is hlor u fang axaxaxas mlo, or literally: "upward behind the onstreaming it mooned." | class="es" lang="es"|Hume notó para siempre que los argumentos de Berkeley no admiten la menor réplica y no causan la menor convicción. Ese dictamen es del todo verídico en su aplicación a la tierra; del todo falso en Tlön. Las naciones de ese planeta son -congénitamente- idealistas. Su lenguaje y las derivaciones de su lenguaje -la religión, las letras, la metafísica- presuponen el idealismo. El mundo para ellos no es un concurso de objetos en el espacio; es una serie heterogénea de actos independientes. Es sucesivo, temporal, no espacial. No hay sustantivos en la conjetural ''Ursprache'' de Tlön, de la que proceden los idiomas "actuales" y los dialectos: hay verbos impersonales, calificados por sufijos (o prefijos) monosilábicos de valor adverbial. Por ejemplo: no hay palabra que corresponda a la palabra ''luna'', pero hay un verbo que sería en español ''lunecer'' o ''lunar''. ''Surgió la luna'' ''sobre el río'' se dice ''hlör u fang axaxaxas mlö'' o sea en su orden: hacia arriba (''upward'') detrás duradero-fluir luneció. (Xul Solar traduce con brevedad: upa tras perfluyue lunó. ''Upward, behind the onstreaming it mooned''. |- | class="en"|The preceding applies to the languages of the southern hemisphere. In those of the northern hemisphere (on whose Ursprache there is very little data in the Eleventh Volume) the prime unit is not the verb, but the monosyllabic adjective. The noun is formed by an accumulation of adjectives. They do not say "moon," but rather "round airy-light on dark" or "pale-orange-of-the-sky" or any other such combination. In the example selected the mass of adjectives refers to a real object, but this is purely fortuitous. The literature of this hemisphere (like Meinong's subsistent world) abounds in ideal objects, which are convoked and dissolved in a moment, according to poetic needs. At times they are determined by mere simultaneity. There are objects composed of two terms, one of visual and another of auditory character: the color of the rising sun and the faraway cry of a bird. There are objects of many terms: the sun and the water on a swimmer's chest, the vague tremulous rose color we see with our eyes closed, the sensation of being carried along by a river and also by sleep. These second-degree objects can be combined with others; through the use of certain abbreviations, the process is practically infinite. There are famous poems made up of one enormous word. This word forms a poetic object created by the author. The fact that no one believes in the reality of nouns paradoxically causes their number to be unending. The languages of Tlön's northern hemisphere contain all the nouns of the Indo-European languages - and many others as well. | class="es" lang="es"|Lo anterior se refiere a los idiomas del hemisferio austral. En los del hemisferio boreal (de cuya '' Ursprache'' hay muy pocos datos en el Onceno Tomo) la célula primordial no es el verbo, sino el adjetivo monosilábico. El sustantivo se forma por acumulación de adjetivos. No se dice ''luna'': se ''dice aéreo-claro sobre oscuro-redondo'' o '' anaranjado-tenue-de1 cielo'' o cualquier otra agregación. En el caso elegido la masa de adjetivos corresponde a un objeto real; el hecho es puramente fortuito. En la literatura de este hemisferio (como en el mundo subsistente de Meinong) abundan los objetos ideales, convocados y disueltos en un momento, según las necesidades poéticas. Los determina, a veces, la mera simultaneidad. Hay objetos compuestos de dos términos, uno de carácter visual y otro auditivo: el color del naciente y el remoto grito de un pájaro. Los hay de muchos: el sol y el agua contra el pecho del nadador, el vago rosa trémulo que se ve con los ojos cerrados, la sensación de quien se deja llevar por un río y también por el sueño. Esos objetos de segundo grado pueden combinarse con otros; el proceso, mediante ciertas abreviaturas, es prácticamente infinito. Hay poemas famosos compuestos de una sola enorme palabra. Esta palabra integra un '' objeto poético'' creado por el autor. El hecho de que nadie crea en la realidad de los sustantivos hace, paradójicamente, que sea interminable su número. Los idiomas del hemisferio boreal de Tlön poseen todos los nombres de las lenguas indoeuropeas y otros muchos más. |- | class="en"|It is no exaggeration to state that the classic culture of Tlön comprises only one discipline: psychology. All others are subordinated to it. I have said that the men of this planet conceive the universe as a series of mental processes which do not develop in space but successively in time. Spinoza ascribes to his inexhaustible divinity the attributes of extension and thought; no one in Tlön would understand the juxtaposition of the first (which is typical only of certain states) and the second - which is a perfect synonym of the cosmos. In other words, they do not conceive that the spatial persists in time. The perception of a cloud of smoke on the horizon and then of the burning field and then of the half-extinguished cigarette that produced the blaze is considered an example of association of ideas. | class="es" lang="es"|No es exagerado afirmar que la cultura clásica de Tlön comprende una sola disciplina: la psicología. Las otras están subordinadas a ella. He dicho que los hombres de ese planeta conciben el universo como una serie de procesos mentales, que no se desenvuelven en el espacio sino de modo sucesivo en el tiempo. Spinoza atribuye a su inagotable divinidad los atributos de la extensión y del pensamiento; nadie comprendería en Tlön la yuxtaposición del primero (que sólo es típico de ciertos estados) y del segundo -que es un sinónimo perfecto del cosmos-. Dicho sea con otras palabras: no conciben que lo espacial perdure en el tiempo. La percepción de una humareda en el horizonte y después del campo incendiado y después del cigarro a medio apagar que produjo la quemazón es considerada un ejemplo de asociación de ideas. |- | class="en"|This monism or complete idealism invalidates all science. If we explain (or judge) a fact, we connect it with another; such linking, in Tlön, is a later state of the subject which cannot affect or illuminate the previous state. Every mental state is irreducible: there mere fact of naming it - i.e., of classifying it - implies a falsification. From which it can be deduced that there are no sciences on Tlön, not even reasoning. The paradoxical truth is that they do exist, and in almost uncountable number. The same thing happens with philosophies as happens with nouns in the northern hemisphere. The fact that every philosophy is by definition a dialectical game, a Philosophie des Als Ob, has caused them to multiply. There is an abundance of incredible systems of pleasing design or sensational type. The metaphysicians of Tlön do not seek for the truth or even for verisimilitude, but rather for the astounding. They judge that metaphysics is a branch of fantastic literature. They know that a system is nothing more than the subordination of all aspects of the universe to any one such aspect. Even the phrase "all aspects" is rejectable, for it supposes the impossible addition of the present and of all past moments. Neither is it licit to use the plural "past moments," since it supposes another operation... One of the schools of Tlön goes so far as to negate time: it reasons that the present is indefinite, that the future has no reality other than as a present memory [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note2 (2)]. Another school declares that all time has already transpired and that our life is only the crepuscular and no doubt falsified an mutilated memory or reflection of an irrecoverable process. Another, that the history of the universe - and in it our lives and the most tenuous detail of our lives - is the scripture produced by a subordinate god in order to communicate with a demon. Another, that the universe is comparable to those cryptographs in which not all the symbols are valid and that only what happens every three hundred nights is true. Another, that while we sleep here, we are awake elsewhere and that in this way every man is two men. | class="es" lang="es"|Este monismo o idealismo total invalida la ciencia. Explicar (o juzgar) un hecho es unirlo a otro; esa vinculación, en Tlön, es un estado posterior del sujeto, que no puede afectar o iluminar el estado anterior. Todo estado mental es irreductible: el mero hecho de nombrarlo -''id est'', de clasificarlo- importa un falseo. De ello cabría deducir que no hay ciencias en Tlön -ni siquiera razonamientos. La paradójica verdad es que existen, en casi innumerable número. Con las filosofías acontece lo que acontece con los sustantivos en el hemisferio boreal. El hecho de que toda filosofía sea de antemano un juego dialéctico, una'' Philosophie des Als Ob'', ha contribuido a multiplicarlas. Abundan los sistemas increíbles, pero de arquitectura agradable o de tipo sensacional. Los metafísicos de Tlön no buscan la verdad ni siquiera la verosimilitud: buscan el asombro. Juzgan que la metafísica es una rama de la literatura fantástica. Saben que un sistema no es otra cosa que la subordinación de todos los aspectos del universo a uno cualquiera de ellos. Hasta la frase "todos los aspectos" es rechazable, porque supone la imposible adición del instante presente y de los pretéritos. Tampoco es lícito el plural "los pretéritos", porque supone otra operación imposible... Una de las escuelas de Tlön llega a negar el tiempo: razona que el presente es indefinido, que el futuro no tiene realidad sino como esperanza presente, que el pasado no tiene realidad sino como recuerdo presente[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note2 (2)]. Otra escuela declara que ha transcurrido ya ''todo el tiempo'' y que nuestra vida es apenas el recuerdo o reflejo crepuscular, y sin duda falseado y mutilado, de un proceso irrecuperable. Otra, que la historia del universo -y en ellas nuestras vidas y el más tenue detalle de nuestras vidas- es la escritura que produce un dios subalterno para entenderse con un demonio. Otra, que el universo es comparable a esas criptografías en las que no valen todos los símbolos y que sólo es verdad lo que sucede cada trescientas noches. Otra, que mientras dormimos aquí, estamos despiertos en otro lado y que así cada hombre es dos hombres. |- | class="en"|Amongst the doctrines of Tlön, none has merited the scandalous reception accorded to materialism. Some thinkers have formulated it with less clarity than fervor, as one might put forth a paradox. In order to facilitate the comprehension of this inconceivable thesis, a heresiarch of the eleventh century [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note3 (3)] devised the sophism of the nine copper coins, whose scandalous renown is in Tlön equivalent to that of the Eleatic paradoxes. There are many versions of this "specious reasoning," which vary the number of coins and the number of discoveries; the following is the most common: | class="es" lang="es"|Entre las doctrinas de Tlön, ninguna ha merecido tanto escándalo como el materialismo. Algunos pensadores lo han formulado, con menos claridad que fervor, como quien adelanta una paradoja. Para facilitar el entendimiento de esa tesis inconcebible, un heresiarca del undécimo siglo[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note3 (3)] ideó el sofisma de las nueve monedas de cobre, cuyo renombre escandaloso equivale en Tlön al de las aporías eleáticas. De ese "razonamiento especioso" hay muchas versiones, que varían el número de monedas y el número de hallazgos; he aquí la más común: |- | class="en"|On Tuesday, X crosses a deserted road and loses nine copper coins. On Thursday, Y finds in the road four coins, somewhat rusted by Wednesday's rain. On Friday, Z discovers three coins in the road. On Friday morning, X finds two coins in the corridor of his house. The heresiarch would deduce from this story the reality - i.e., the continuity - of the nine coins which were recovered. It is absurd (he affirmed) to imagine that four of the coins have not existed between Tuesday and Thursday, three between Tuesday and Friday afternoon, two between Tuesday and Friday morning. It is logical to think that they have existed - at least in some secret way, hidden from the comprehension of men - at every moment of those three periods. | class="es" lang="es"|''El martes, X atraviesa un camino desierto y pierde nueve monedas de cobre. El jueves, Y encuentra en el camino cuatro monedas, algo herrumbradas por la lluvia del miércoles. El viernes, Z descubre tres monedas en el camino. El viernes de mañana, X encuentra dos monedas en el corredor de su casa''. El heresiarca quería deducir de esa historia la realidad -''id est'' la continuidad- de las nueve monedas recuperadas. ''Es absurdo'' (afirmaba) ''imaginar que cuatro de las monedas no han existido entre el martes y el jueves, tres entre e1 martes y la tarde del viernes, dos entre el martes y la madrugada del viernes. Es lógico pensar que han existido -siquiera de algún modo secreto, de comprensión vedada a los hombres- en todos los momentos de esos tres plazos''. |- | class="en"|The language of Tlön resists the formulation of this paradox; most people did not even understand it. The defenders of common sense at first did no more than negate the veracity of the anecdote. They repeated that it was a verbal fallacy, based on the rash application of two neologisms not authorized by usage and alien to all rigorous thought: the verbs "find" and "lose," which beg the question, because they presuppose the identity of the first and of the last nine coins. They recalled that all nouns (man, coin, Thursday, Wednesday, rain) have only a metaphorical value. They denounced the treacherous circumstance "somewhat rusted by Wednesday's rain," which presupposes what is trying to be demonstrated: the persistence of the four coins from Tuesday to Thursday. They explained that equality is one thing and identity another, and formulated a kind of reductio ad absurdum: the hypothetical case of nine men who on nine nights suffer a severe pain. Would it not be ridiculous - they questioned - to pretend that this pain is one and the same?[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note4 (4)] They said that the heresiarch was prompted only by the blasphemous intention of attributing the divine category of being to some simple coins and that at times he negated plurality and at other times did not. They argued: if equality implies identity, one would also have to admit that the nine coins are one. | class="es" lang="es"|El lenguaje de Tlön se resistía a formular esa paradoja; los más no la entendieron. Los defensores del sentido común se limitaron, al principio, a negar la veracidad de la anécdota. Repitieron que era una falacia verbal, basada en el empleo temerario de dos voces neológicas, no autorizadas por el uso y ajenas a todo pensamiento severo: los verbos ''encontrar y perder'', que comportan una petición de principio, porque presuponen la identidad de las nueve primeras monedas y de las últimas. Recordaron que todo sustantivo (hombre, moneda, jueves, miércoles, lluvia) sólo tiene un valor metafórico. Denunciaron la pérfida circunstancia '' algo herrumbradas por la lluvia del miércoles,'' que presupone lo que se trata de demostrar: la persistencia de las cuatro monedas, entre el jueves y el martes. Explicaron que una cosa es ''igualdad'' y otra ''identidad'' y formularon una especie de ''reductio ad absurdum'', o sea el caso hipotético de nueve hombres que en nueve sucesivas noches padecen un vivo dolor. ¿No sería ridículo -interrogaron- pretender que ese dolor es el mismo?[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note4 (4)] Dijeron que al heresiarca no lo movía sino el blasfematorio propósito de atribuir la divina categoría de ''ser'' a unas simples monedas y que a veces negaba la pluralidad y otras no. Argumentaron: si la igualdad comporta la identidad, habría que admitir asimismo que las nueve monedas son una sola. |- | class="en"|Unbelievably, these refutations were not definitive. A hundred years after the problem was stated, a thinker no less brilliant than the heresiarch but of orthodox tradition formulated a very daring hypothesis. This happy conjecture affirmed that there is only one subject, that this indivisible subject is every being in the universe and that these beings are the organs and masks of the divinity. X is Y and is Z. Z discovers three coins because he remembers that X lost them; X finds two in the corridor because he remembers that the others have been found... The Eleventh Volume suggests that three prime reasons determined the complete victory of this idealist pantheism. The first, its repudiation of solipsism; the second, the possibility of preserving the psychological basis of the sciences; the third, the possibility of preserving the cult of the gods. Schopenhauer (the passionate and lucid Schopenhauer) formulates a very similar doctrine in the first volume of Parerga und Paralipomena. | class="es" lang="es"|Increíblemente, esas refutaciones no resultaron definitivas. A los cien años de enunciado el problema, un pensador no menos brillante que el heresiarca pero de tradición ortodoxa, formuló una hipótesis muy audaz. Esa conjetura feliz afirma que hay un solo sujeto, que ese sujeto indivisible es cada uno de los seres del universo y que éstos son los órganos y máscaras de la divinidad. X es Y y es Z. Z descubre tres monedas porque recuerda que se le perdieron a X; X encuentra dos en el corredor porque recuerda que han sido recuperadas las otras... El Onceno Tomo deja entender que tres razones capitales determinaron la victoria total de ese panteísmo idealista. La primera, el repudio del solipsismo; la segunda, la posibilidad de conservar la base psicológica de las ciencias; la tercera, la posibilidad de conservar el culto de los dioses. Schopenhauer (el apasionado y lúcido Schopenhauer) formula una doctrina muy parecida en el primer volumen de ''Parerga und Paralipomena''. |- | class="en"|The geometry of Tlön comprises two somewhat different disciplines: the visual and the tactile. The latter corresponds to our own geometry and is subordinated to the first. The basis of visual geometry is the surface, not the point. This geometry disregards parallel lines and declares that man in his movement modifies the forms which surround him. The basis of its arithmetic is the notion of indefinite numbers. They emphasize the importance of the concepts of greater and lesser, which our mathematicians symbolize as > and <. They maintain that the operation of counting modifies the quantities and converts them from indefinite into definite sums. The fact that several individuals who count the same quantity would obtain the same result is, for the psychologists, an example of association of ideas or of a good exercise of memory. We already know that in Tlön the subject of knowledge is on and eternal. | class="es" lang="es"|La geometría de Tlön comprende dos disciplinas algo distintas: la visual y la táctil. La última corresponde a la nuestra y la subordinan a la primera. La base de la geometría visual es la superficie, no el punto. Esta geometría desconoce las paralelas y declara que el hombre que se desplaza modifica las formas que lo circundan. La base de su aritmética es la noción de números indefinidos. Acentúan la importancia de los conceptos de mayor y menor, que nuestros matemáticos simbolizan por > y por <, Afirman que la operación de contar modifica las cantidades y las convierte de indefinidas en definidas. El hecho de que varios individuos que cuentan una misma cantidad logran un resultado igual, es para los psicólogos un ejemplo de asociación de ideas o de buen ejercicio de la memoria. Ya sabemos que en Tlön el sujeto del conocimiento es uno y eterno. |- | class="en"|In literary practices the idea of a single subject is also all-powerful. It is uncommon for books to be signed. The concept of plagiarism does not exist: it has been established that all works are the creation of one author, who is atemporal and anonymous. The critics often invent authors: they select two dissimilar works - the Tao Te Ching and the 1001 Nights, say - attribute them to the same writer and then determine most scrupulously the psychology of this interesting homme de lettres... | class="es" lang="es"|En los hábitos literarios también es todopoderosa la idea de un sujeto único. Es raro que los libros estén firmados. No existe el concepto del plagio: se ha establecido que todas las obras son obra de un solo autor, que es intemporal y es anónimo. La crítica suele inventar autores: elige dos obras disímiles -el Tao Te King y las 1001 Noches, digamos-, las atribuye a un mismo escritor y luego determina con probidad la psicología de ese interesante ''homme de lettres''... |- | class="en"|Their books are also different. Works of fiction contain a single plot, with all its imaginable permutations. Those of a philosophical nature invariably include both the thesis and the antithesis, the rigorous pro and con of a doctrine. A book which does not contain its counterbook is considered incomplete. | class="es" lang="es"|También son distintos los libros. Los de ficción abarcan un solo argumento, con todas las permutaciones imaginables. Los de naturaleza filosófica invariablemente contienen la tesis y la antítesis, el riguroso pro y el contra de una doctrina. Un libro que no encierra su contralibro es considerado incompleto. |- | class="en"|Centuries and centuries of idealism have not failed to influence reality. In the most ancient regions of Tlön, the duplication of lost objects is not infrequent. Two persons look for a pencil; the first finds it and says nothing; the second finds a second pencil, no less real, but closer to his expectations. These secondary objects are called hrönir and are, though awkward in form, somewhat longer. Until recently, the hrönir were the accidental products of distraction and forgetfulness. It seems unbelievable that their methodical production dates back scarcely a hundred years, but this is what the Eleventh Volume tells us. The first efforts were unsuccessful. However, the modus operandi merits description. The director of one of the state prisons told his inmates that there were certain tombs in an ancient river bed and promised freedom to whoever might make an important discovery. During the months preceding the excavation the inmates were shown photographs of what they were to find. This first effort proved that expectation and anxiety can be inhibitory; a week's work with pick and shovel did not mange to unearth anything in the way of a hrön except a rusty wheel of a period posterior to the experiment. But this was kept in secret and the process was repeated later in four schools. In three of them failure was almost complete; in a fourth (whose director died accidentally during the first excavations) the students unearthed - or produced - a gold mask, an archaic sword, two or three clay urns and the moldy and mutilated torso of a king whose chest bore an inscription which it has not yet been possible to decipher. Thus was discovered the unreliability of witnesses who knew of the experimental nature of the search... Mass investigations produce contradictory objects; now individual and almost improvised jobs are preferred. The methodical fabrication of hrönir (says the Eleventh Volume) has performed prodigious services for archaeologists. It has made possible the interrogation and even the modification of the past, which is now no less plastic and docile than the future. Curiously, the hrönir of second and third degree - the hrönir derived from another hrön, those derived from the hrön of a hrön - exaggerate the aberrations of the initial one; those of fifth degree are almost uniform; those of ninth degree become confused with those of the second; in those of the eleventh there is a purity of line not found in the original. The process is cyclical: the hrön of the twelfth degree begins to fall off in quality. Stranger and more pure than any hrön is, at times, the ur: the object produced through suggestion, educed by hope. The great golden mask I have mentioned is an illustrious example. | class="es" lang="es"|Siglos y siglos de idealismo no han dejado de influir en la realidad. No es infrecuente, en las regiones más antiguas de Tlön, la duplicación de objetos perdidos. Dos personas buscan un lápiz; la primera lo encuentra y no dice nada; la segunda encuentra un segundo lápiz no menos real, pero más ajustado a su expectativa. Esos objetos secundarios se llaman ''hrönir'' y son, aunque de forma desairada, un poco más largos. Hasta hace poco los ''hrönir'' fueron hijos casuales de la distracción y el olvido. Parece mentira que su metódica producción cuente apenas cien años, pero así lo declara el Onceno Tomo. Los primeros intentos fueron estériles. El ''modus operandí'', sin embargo, merece recordación. El director de una de las cárceles del estado comunicó a los presos que en el antiguo lecho de un río había ciertos sepulcros y prometió la libertad a quienes trajeran un hallazgo importante. Durante los meses que precedieron a la excavación les mostraron láminas fotográficas de lo que iban a hallar. Ese primer intento probó que la esperanza y la avidez pueden inhibir; una semana de trabajo con la pala y el pico no logró exhumar otro '' hrön'' que una rueda herrumbrada, de fecha posterior al experimento. Éste se mantuvo secreto y se repitió después en cuatro colegios. En tres fue casi total el fracaso; en el cuarto (cuyo director murió casualmente durante las primeras excavaciones) los discípulos exhumaron -o produjeron- una máscara de oro, una espada arcaica, dos o tres ánforas de barro y el verdinoso y mutilado torso de un rey con una inscripción en el pecho que no se ha logrado aún descifrar. Así se descubrió la improcedencia de testigos que conocieran la naturaleza experimental de la busca... Las investigaciones en masa producen objetos contradictorios; ahora se prefiere los trabajos individuales y casi improvisados. La metódica elaboración de ''hrönir'' (dice el Onceno Tomo) ha prestado servicios prodigiosos a los arqueólogos. Ha permitido interrogar y hasta modificar el pasado, que ahora no es menos plástico y menos dócil que el porvenir. Hecho curioso: los ''hrönir'' de segundo y de tercer grado -los ''hrönir'' derivados de otro ''hrön'', los ''hrönir'' derivados del ''hrön'' de un ''hrön''- exageran las aberraciones del inicial; los de quinto son casi uniformes; los de noveno se confunden con los de segundo; en los de undécimo hay una pureza de líneas que los originales no tienen. El proceso es periódico: el ''hrön'' de duodécimo grado ya empieza a decaer. Más extraño y más puro que todo hrön es a veces el ''ur'': la cosa producida por sugestión, el objeto educido por la esperanza. La gran máscara de oro que he mencionado es un ilustre ejemplo. |- | class="en"|Things became duplicated in Tlön; they also tend to become effaced and lose their details when they are forgotten. A classic example is the doorway which survived so long as it was visited by a beggar and disappeared at his death. At times some birds, a horse, have saved the ruins of an amphitheater. | class="es" lang="es"|Las cosas se duplican en Tlön; propenden asimismo a borrarse y a perder los detalles cuando los olvida la gente. Es clásico el ejemplo de un umbral que perduró mientras lo visitaba un mendigo y que se perdió de vista a su muerte. A veces unos pájaros, un caballo, han salvado las ruinas de un anfiteatro. |} -- ''Salto Oriental, 1940.'' ===Postscript/Posdata (1947)=== [[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#top top]] {| | class="en"|I reproduce the preceding article just as it appeared in the Anthology of Fantastic Literature (1940), with no omission other than that of a few metaphors and a kind of sarcastic summary which now seems frivolous. So many things have happened since then... I shall do no more than recall them here. | class="es" lang="es"|Reproduzco el artículo anterior tal como apareció en la'' Antología de la literatura fantástica'', 1940, sin otra escisión que algunas metáforas y que una especie de resumen burlón que ahora resulta frívolo. Han ocurrido tantas cosas desde esa fecha... Me limitaré a recordarlas. |- | class="en"|In March of 1941 a letter written by Gunnary Erfjord was discovered in a book by Hinton which had belonged to Herbert Ashe. The envelope bore a cancellation from Ouro Preto; the letter completely elucidated the mystery of Tlön. Its text corroborated the hypotheses of Martinez Estrada. One night in Lucerne or in London, in the early seventeenth century, the splendid history has its beginning. A secret and benevolent society (amongst whose members were Dalgarno and later George Berkeley) arose to invent a country. Its vague initial program included "hermetic studies," philanthropy and the cabala. From this first period dates the curious book by Andrea. After a few years of secret conclaves and premature syntheses it was understood that one generation was not sufficient to give articulate form to a country. They resolved that each of the masters should elect a disciple who would continue his work. This hereditary arrangement prevailed; after an interval of two centuries the persecuted fraternity sprang up again in America. In 1824, in Memphis (Tennessee), one of its affiliates conferred with the ascetic millionaire Ezra Buckley. The latter, somewhat disdainfully, let him speak - and laughed at the plan's modest scope. He told the agent that in America it was absurd to invent a country and proposed the invention of a planet. To this gigantic idea he added another, a product of his nihilism[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note5 (5)]: that of keeping the enormous enterprise a secret. At that time the twenty volumes of the Encyclopaedia Britannica were circulating in the United States; Buckley suggested that a methodical encyclopedia of the imaginary planet be written. He was to leave them his mountains of gold, his navigable rivers, his pasture lands roamed by cattle and buffalo, his Negroes, his brothels and his dollars, on one condition: "The work will make no pact with the impostor Jesus Christ." Buckley did not believe in God, but he wanted to demonstrate to this nonexistent God that mortal man was capable of conceiving a world. Buckley was poisoned in Baton Rouge in 1828; in 1914 the society delivered to its collaborators, some three hundred in number, the last volume of the First Encyclopedia of Tlön. The edition was a secret one; its forty volumes (the vastest undertaking ever carried out by man) would be the basis for another more detailed edition, written not in English but in one of the languages of Tlön. This revision of an illusory world, was called, provisionally, Orbis Tertius and one of its modest demiurgi was Herbert Ashe, whether as an agent of Gunnar Erfjord or as an affiliate, I do not know. His having received a copy of the Eleventh Volume would seem to favor the latter assumption. But what about the others? | class="es" lang="es"|En marzo de 1941 se descubrió una carta manuscrita de Gunnar Erfjord en un libro de Hinton que había sido de Herbert Ashe. El sobre tenía el sello postal de Ouro Preto, la carta elucidaba enteramente el misterio de Tlön. Su texto corrobora las hipótesis de Martínez Estrada. A principios del siglo XVII, en una noche de Lucerna o de Londres, empezó la espléndida historia. Una sociedad secreta y benévola (que entre sus afilados tuvo a Dalgarno y después a George Berkeley) surgió para inventar un país. En el vago programa inicial figuraban los "estudios herméticos", la filantropía y la cábala. De esa primera época data el curioso libro de Andreä. Al cabo de unos años de conciliábulos y de síntesis prematuras comprendieron que una generación no bastaba para articular un país. Resolvieron que cada uno de los maestros que la integraban eligiera un discípulo para la continuación de la obra. Esa disposición hereditaria prevaleció; después de un hiato de dos siglos la perseguida fraternidad resurge en América. Hacia 1824, en Memphis (Tennessee) uno de los afiliados conversa con el ascético millonario Ezra Buckley. Éste lo deja hablar con algún desdén -y se ríe de la modestia del proyecto. Le dice que en América es absurdo inventar un país y le propone la invención de un planeta. A esa gigantesca idea añade otra, hija de su nihilismo[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note5 (5)]: la de guardar en el silencio la empresa enorme. Circulaban entonces los veinte tomos de la ''Encyclopaedia Britannica''; Buckley sugiere una enciclopedia metódica del planeta ilusorio. Les dejará sus cordilleras auríferas, sus ríos navegables, sus praderas holladas por el toro y por el bisonte, sus negros, sus prostíbulos y sus dólares, bajo una condición: "La obra no pactará con el impostor Jesucristo." Buckley descree de Dios, pero quiere demostrar al Dios no existente que los hombres mortales son capaces de concebir un mundo. Buckley es envenenado en Baton Rouge en 1828; en 1914 la sociedad remite a sus colaboradores, que son trescientos, el volumen final de la Primera Enciclopedia de Tlön. La edición es secreta: los cuarenta volúmenes que comprende (la obra más vasta que han acometido los hombres) serían la base de otra más minuciosa, redactada no ya en inglés, sino en alguna de las lenguas de Tlön. Esa revisión de un mundo ilusorio se llama provisoriamente ''Orbis Tertius'' y uno de sus modestos demiurgos fue Herbert Ashe, no sé si como agente de Gunnar Erfjord o como afiliado. Su recepción de un ejemplar del Onceno Tomo parece favorecer lo segundo. Pero ¿y los otros? |- | class="en"|In 1942 events became more intense. I recall one of the first of these with particular clarity and it seems that I perceived then something of its premonitory character. It happened in an apartment on Laprida Street, facing a high and light balcony which looked out toward the sunset. Princess Faucigny Lucinge had received her silverware from Poitiers. From the vast depths of a box embellished with foreign stamps, delicate immobile objects emerged: silver from Utrecht and Paris covered with hard heraldic fauna, and a samovar. Amongst them - with the perceptible and tenuous tremor of a sleeping bird - a compass vibrated mysteriously. The princess did not recognize it. Its blue needle longed from magnetic north; its metal case was concave in shape; the letters around its edge corresponded to one of the alphabets of Tlön. Such was the first intrusion of this fantastic world into the world of reality. | class="es" lang="es"|Hacia 1942 arreciaron los hechos. Recuerdo con singular nitidez uno de los primeros y me parece que algo sentí de su carácter premonitorio. Ocurrió en un departamento de la calle Laprida, frente a un claro y alto balcón que miraba el ocaso. La princesa de Faucigny Lucinge había recibido de Poitiers su vajilla de plata. Del vasto fondo de un cajón rubricado de sellos internacionales iban saliendo finas cosas inmóviles: platería de Utrecht y de París con dura fauna heráldica, un samovar. Entre ellas -con un perceptible y tenue temblor de pájaro dormido- latía misteriosamente una brújula. La princesa no la reconoció. La aguja azul anhelaba el norte magnético; la caja de metal era cóncava; las letras de la esfera correspondían a uno de los alfabetos de Tlön. Tal fue la primera intrusión del mundo fantástico en el mundo real. |- | class="en"|I am still troubled by the stroke of chance which made me witness of the second intrusion as well. It happened some months later, at a country store owned by a Brazilian in Cuchilla Negra. Amorim and I were returning from Sant' Anna. The River Tacuarembo had flooded and we were obliged to sample (and endure) the proprietor's rudimentary hospitality. He provided us with some creaking cots in a large room cluttered with barrels and hides. We went to bed, but were kept from sleeping until dawn by the drunken ravings of an unseen neighbor, who intermingled inextricable insults with snatches of milongas - or rather with snatches of the same milonga. As might be supposed, we attributed this insistent uproar to the store owner's fiery cane liquor. By daybreak, the man was dead in the hallway. The roughness of his voice had deceived us: he was only a youth. In his delirium a few coins had fallen from his belt, along with a cone of bright metal, the size of a die. In vain a boy tried to pick up this cone. A man was scarcely able to raise it from the ground. It held in my hand for a few minutes; I remember that its weight was intolerable and that after it was removed, the feeling of oppressiveness remained. I also remember the exact circle it pressed into my palm. The sensation of a very small and at the same time extremely heavy object produced a disagreeable impression of repugnance and fear. One of the local men suggested we throw it into the swollen river; Amorim acquired it for a few pesos. No one knew anything about the dead man, except that "he came from the border." These small, very heavy cones (made from a metal which is not of this world) are images of the divinity in certain regions of Tlön. | class="es" lang="es"|Un azar que me inquieta hizo que yo también fuera testigo de la segunda. Ocurrió unos meses después, en la pulpería de un brasilero, en la Cuchilla Negra. Amorim y yo regresábamos de Sant'Anna. Una creciente del río Tacuarembó nos obligó a probar (y a sobrellevar) esa rudimentaria hospitalidad. El pulpero nos acomodó unos catres crujientes en una pieza grande, entorpecida de barriles y cueros. Nos acostamos, pero no nos dejó dormir hasta el alba la borrachera de un vecino invisible, que alternaba denuestos inextricables con rachas de milongas -más bien con rachas de una sola milonga. Como es de suponer, atribuimos a la fogosa caña del patrón ese griterío insistente... A la madrugada, el hombre estaba muerto en el corredor. La aspereza de la voz nos había engañado: era un muchacho joven. En el delirio se le habían caído del tirador unas cuantas monedas y un cono de metal reluciente, del diámetro de un dado. En vano un chico trató de recoger ese cono. Un hombre apenas acertó a levantarlo. Yo lo tuve en la palma de la mano algunos minutos: recuerdo que su peso era intolerable y que después de retirado el cono, la opresión perduró. También recuerdo el círculo preciso que me grabó en la carne. Esa evidencia de un objeto muy chico y a la vez pesadísimo dejaba una impresión desagradable de asco y de miedo. Un paisano propuso que lo tiraran al río correntoso. Amorim lo adquirió mediante unos pesos. Nadie sabía nada del muerto, salvo "que venía de la frontera". Esos conos pequeños y muy pesados (hechos de un metal que no es de este mundo) son imagen de la divinidad, en ciertas religiones de Tlön. |- | class="en"|Here I bring the personal part of my narrative to a close. The rest is in the memory (if not in the hopes or fears) of all my readers. Let it suffice for me to recall or mention the following facts, with a mere brevity of words which the reflective recollection of all will enrich or amplify. Around 1944, a person doing research for the newspaper The American (of Nashville, Tennessee) brought to light in a Memphis library the forty volumes of the First Encyclopedia of Tlön. Even today there is a controversy over whether this discovery was accidental or whether it was permitted by the directors of the still nebulous Orbis Tertius. The latter is most likely. Some of the incredible aspects of the Eleventh Volume (for example, the multiplication of the hrönir) have been eliminated or attenuated in the Memphis copies; it is reasonable to imagine that these omissions follow the plan of exhibiting a world which is not too incompatible with the real world. The dissemination of objects from Tlön over different countries would complement this plan...[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note6 (6)] The fact is that the international press infinitely proclaimed the "find." Manuals, anthologies, summaries, literal versions, authorized re-editions and pirated editions of the Greatest Work of Man flooded and still flood the earth. Almost immediately, reality yielded on more than one account. The truth is that it longed to yield. Ten years ago any symmetry with a resemblance of order - dialectical materialism, anti-Semitism, Nazism - was sufficient to entrance the minds of men. How could one do other than submit to Tlön, to the minute and vast evidence of an orderly planet? It is useless to answer that reality is also orderly. Perhaps it is, but in accordance with divine laws - I translate: inhuman laws - which we never quite grasp. Tlön is surely a labyrinth, but it is a labyrinth devised by men, a labyrinth destined to be deciphered by men. | class="es" lang="es"|Aquí doy término a la parte personal de mi narración. Lo demás está en la memoria (cuando no en la esperanza o en el temor) de todos mis lectores. Básteme recordar o mencionar los hechos subsiguientes, con una mera brevedad de palabras que el cóncavo recuerdo general enriquecerá o ampliará. Hacia 1944 un investigador del diario ''The American'' (de Nashville, Tennessee) exhumó en una biblioteca de Memphis los cuarenta volúmenes de la Primera Enciclopedia de Tlön. Hasta el día de hoy se discute si ese descubrimiento fue casual o si lo consintieron los directores del todavía nebuloso ''Orbis Tertius''. Es verosímil lo segundo. Algunos rasgos increíbles del Onceno Tomo (verbigracia, la multiplicación de los ''hrönir'') han sido eliminados o atenuados en el ejemplar de Memphis; es razonable imaginar que esas tachaduras obedecen al plan de exhibir un mundo que no sea demasiado incompatible con el mundo real. La diseminación de objetos de Tlön en diversos países complementaría ese plan...[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#note6 (6)] El hecho es que la prensa internacional voceó infinitamente el "hallazgo". Manuales, antologías, resúmenes, versiones literales, reimpresiones autorizadas y reimpresiones piráticas de la Obra Mayor de los Hombres abarrotaron y siguen abarrotando la tierra. Casi inmediatamente, la realidad cedió en más de un punto. Lo cierto es que anhelaba ceder. Hace diez años bastaba cualquier simetría con apariencia de orden -el materialismo dialéctico, el antisemitismo, el nazismo- para embelesar a los hombres. ¿Cómo no someterse a Tlön, a la minuciosa y vasta evidencia de un planeta ordenado? Inútil responder que la realidad también está ordenada. Quizá lo esté, pero de acuerdo a leyes divinas -traduzco: a leyes inhumanas- que no acabamos nunca de percibir. Tlön será un laberinto, pero es un laberinto urdido por hombres, un laberinto destinado a que lo descifren los hombres. |- | class="en"|The contact and the habit of Tlön have disintegrated this world. Enchanted by its rigor, humanity forgets over and again that it is a rigor of chess masters, not of angels. Already the schools have been invaded by the (conjectural) "primitive language" of Tlön; already the teaching of its harmonious history (filled with moving episodes) has wiped out the one which governed in my childhood; already a fictitious past occupies in our memories the place of another, a past of which we know nothing with certainty - not even a that it is false. Numismatology, pharmacology and archeology have been reformed. I understand that biology and mathematics also await their avatars... A scattered dynasty of solitary men has changed the face of the world. Their task continues. If our forecasts are not in error, a hundred years from now someone will discover the hundred volumes of the Second Encyclopedia of Tlön. | class="es" lang="es"|El contacto y el hábito de Tlön han desintegrado este mundo. Encantada por su rigor, la humanidad olvida y torna a olvidar que es un rigor de ajedrecistas, no de ángeles. Ya ha penetrado en las escuelas el (conjetural), "idioma primitivo" de Tlön; ya la enseñanza de su historia armoniosa (y llena de episodios conmovedores) ha obliterado a la que presidió mi niñez; ya en las memorias un pasado ficticio ocupa el sitio de otro, del que nada sabemos con certidumbre -ni siquiera que es falso. Han sido reformadas la numismática, la farmacología y la arqueología. Entiendo que la biología y las matemáticas aguardan también su avatar... Una dispersa dinastía de solitarios ha cambiado la faz del mundo. Su tarea prosigue. Si nuestras previsiones no erran, de aquí a cien años alguien descubrirá los cien tomos de la Segunda Enciclopedia de Tlön. |- | class="en"|Then English and French and mere Spanish will disappear from the globe. The world will be Tlön. I pay no attention to all this and go on revising, in the still days at the Adrogue hotel, an uncertain Quevedian translation (which I do not intend to publish) of Browne's Urn Burial. | class="es" lang="es"|Entonces desaparecerán del planeta el inglés y el francés y el mero español. El mundo será Tlön. Yo no hago caso, yo sigo revisando en los quietos días del hotel de Adrogué una indecisa traducción quevediana (que no pienso dar a la imprenta) del ''Urn Burial'' de Browne. |} [[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#top top]] ===Notes:=== {| | class="en"|1. Haslam has also published A General History of Labyrinths. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#backto1 [Return to text.]] | class="es" lang="es"|1. Haslam ha publicado también ''A General History of Labyrinths.''[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#regresa1 [Regresa al texto.]] |- | class="en"|2. Russell (The Analysis of Mind, 1921, page 159) supposes that the planet has been created a few minutes ago, furnished with a humanity that "remembers" an illusory past. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#backto2 Return to text.] | class="es" lang="es"|2. Russell. (The Analysis of Mind, 1921, página 159) supone que el planeta ha sido creado hace pocos minutos, provisto de una humanidad que "recuerda" un pasado ilusorio. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#regresa2 [Regresa al texto.]] |- | class="en"|3. A century, according to the duodecimal system, signifies a period of a hundred and forty-four years. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#backto3 Return to text.] | class="es" lang="es"|3. Siglo, de acuerdo con el sistema duodecimal, significa un período de ciento cuarenta y cuatro años. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#regresa3 [Regresa al texto.]] |- | class="en"|4. Today, one of the churches of Tlön Platonically maintains that a certain pain, a certain greenish tint of yellow, a certain temperature, a certain sound, are the only reality. All men, in the vertiginous moment of coitus, are the same man. All men who repeat a line from Shakespeare are William Shakespeare. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#backto4 Return to text.] | class="es" lang="es"|4. En el día de hoy, una de las iglesias de Tlón sostiene platónicamente que tal dolor, que tal matiz verdoso del amarillo, que tal temperatura, que tal sonido, son la única realidad. Todos los hombres, en el veniginoso instante del coito, son el mismo hombre. Todos los hombres que repiten una línea de Shakespeare, ''son'' William Shakespeare.[http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#regresa4 [Regresa al texto.]] |- | class="en"|5. Buckley was a freethinker, a fatalist, and a defender of slavery. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#backto5 Return to text.] | class="es"|5. Buckley era librepensador, fatalista y defensor de la esclavitud. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#regresa5 [Regresa al texto.]] |- | class="en"|6. There remains, of course, the problem of the material of some objects. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#backto6 Return to text.] | class="es" lang="es"|6. Queda, naturalmente, el problema de la materia de algunos objetos. [http://interglacial.com/%7Esburke/pub/Borges_-_Tlon,_Uqbar,_Orbis_Tertius.html#regresa6 [Regresa al texto.]] |} [[Category:orbis tertius]] [[Category:publishers]] [[Category:teenage dinosaur]] [[Category:wikipedia]] [[Category:dylan walliams]] [[Category:sparkplag komickzs]] [[Category:komisx]] [[Category:cosmic]] [[Category:cosmic comics]] [[Category:stefan gruber]] [[Category:mass hysteria]] [[Category:spritzfellow]] 5vz8jb6wmpt99my6b9b66pts3yae2es 0 2024 3857 2010-09-23T04:59:26Z Spritzfellow 3082342 3857 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2110 3918 2010-09-23T05:30:58Z Spritzfellow 3082342 gabba gabba hey 3918 wikitext text/x-wiki [[File:Zine1.jpg|link=http://purgatorius.livejournal.com|frame|Brodie Kelly]] Write the text of my article here! tkbljaa1e2xx3ab47ncri5jzb7i7jvs 3920 3918 2010-09-23T05:33:36Z Spritzfellow 3082342 feeding the gibberish into the sense-go-matical 3920 wikitext text/x-wiki [[File:Zine1.jpg|link=http://purgatorius.livejournal.com|frame|Brodie Kelly]] [[File:Doomsday.jpg|frame|doomsday]]{{CURRENTDOW}} {{undefined}}{{Wikipedia |False }} ck6ipcusnuw1zl1y60bqozld5lxma3q 3931 3920 2010-09-23T05:46:48Z Spritzfellow 3082342 Cyclopaedia 3931 wikitext text/x-wiki [[File:Zine1.jpg|link=http://purgatorius.livejournal.com|frame|Brodie Kelly]] Write the text of my article here! ===Spanish to Icelandic translation=== Jorge Luis Borges: Tlön, Uqbar, Orbis Tertius (1940) Ég [Part 2] [postscript] [athugasemdir] Ég skulda uppgötvun Uqbar að tengslum við spegil og alfræðirit. Spegil Vandræði djúpum í gang í landi hús á Gaona Street í Ramos Mejia, the alfræðiritið er fallaciously kallað ensk-American Cyclopaedia (New York, 1917) og slæmri En er bókstaflega prentaðu á Encyclopedia Britannica frá 1902. Atburðurinn átti sér stað Sumir fimm árum síðan. Bioy Casares hefði fengið borða með mér um kvöldið og við lengthily Varð unnið í miklum polemic Varðandi samsetningu skáldsögu í fyrsta manneskja, en sögumaður vildi sleppa eða Disfigured staðreyndir og láta undan í ýmsum Mótsagnir sem hefði heimilað A Fáir lesendur - mjög Fáir lesendur - til að skynja að grimmilegur eða banal veruleika. Frá fjarlægum djúpum gang, spegil skewer á okkur. Við uppgötvaði (Slík uppgötvun er óhjákvæmilegt í lok tíma um nóttina) Þessi spegill sem gerir eitthvað monstrous um þau. Þá Bioy Casares Það muna eitt heresiarchs af Uqbar HAD lýst því yfir að spegla og copulation eru viðurstyggilega, því þeir auka fjölda eða karla. Ég bað hann um uppruna þessa eftirminnilegu athugun og ég svaraði að það var fjölgað í ensk-Ameríska Cyclopaedia, grein í sínum Uqbar. The house (sem við þurftum leigja húsgögnum) Had a September þessa vinnu. Á síðustu síðum Volume XLVI fundum við grein um Upsala; á fyrstu síðum Volume XLVII, eitt í Ural-Altaic Tungumál, en ekki orð um Uqbar. Bioy, dálítið Taka aback, samráði við rúmmál af vísitölunni. Til einskis Ég er uppurin öllum hugsanlegur stafsetningu: Ukbara, Ucbar, Ooqbar, Ookbar, Oukbahr ... Áður afgangur, sagði ég mig að það var svæði í Írak eða Asíu Minor. Ég verð að játa að ég er sammála sumum óþægindum. Ég conjectured Þessi landi undocumented og nafnlaus heresiarch Þess væri skáldskapur hugsa um hógværð Bioy í því skyni að réttlæta yfirlýsingu. The árangurslausar Rannsókn á einn af Justus Perthes 'kortabóka víggirtar Doubt minn. Ég er skuldugur til samvinnu á spegil og alfræðirit Uqbar uppgötvun. Spegil órótt djúpum a hlaupari í fimmta Gaona Street í Ramos Mejia, frjálsa fallaciously heitir ensk-American Cyclopaedia (New York, 1917) og er prentaðu bókstaflegri en slæmri er alfræðiorðabók Britannica 1902. Atburðurinn átti sér stað um fimm ár. Bioy Casares hafði dined með mér þetta kvöld og við fórum með mikla deilur um framkvæmd á fyrstu persónu skáldsaga, sem sögumaður vildi sleppa eða disfigure staðreyndir og hljóp í ýmsar mótsagnir, sem myndi leyfa nokkrum lesendum-nokkrar lesendur-spár um grimmilegur eða banal veruleika. Frá langt enda gang, spegil var að horfa á okkur. Við uppgötvaði (seint á kvöldin að uppgötvun er óhjákvæmilegt) sem endurspeglar hafa eitthvað monstrous. Þá Bioy Casares muna að ein af heretics af Uqbar hafði fram að speglum og copulation eru viðurstyggilega því þeir margfalda fjölda manna. Ég spurði um uppruna sem eftirminnilegu setningu og sagði mér að The ensk-Ameríska Cyclopaedia skráð í grein sinni á Uqbar. Í fimmta (sem við höfðum leigt með húsgögnum) með afrit af þeirri vinnu. Á síðustu síðum Volume XLVI fundum við grein um Upsala, í fyrsta XLVII, eitt í Ural-Altaic Tungumál, en ekki orð um Uqbar. Bioy, dálítið hræddur, efast um magn af vísitölunni. Búinn til einskis sérhver kennslustund hugsanlegur Ukbara, Ucbar, Ookbar, Oukbahr ... Áður afgangur, sagði ég það var svæði í Írak eða Asíu Minor. Ég játa að ég hefði samþykkt með nokkru óþægindi. Ég giska á að þetta land undocumented og nafnlaus heresiarch voru skáldskapur cobbled saman af hógværð Bioy í því skyni að réttlæta setningu. A dauðhreinsuðum skoðun Justus Perthes 'kortabóka víggirtar efa minn. Næsta dag, Bioy hringdi í mig frá Buenos Hrúturinn. Ég sagði hann ég HAD Áður en hlutur á Uqbar í bindi XLVI í alfræðirit. Nafn heresiarch's væntanlegri Var ekki, en það var verkefni á sögulegum kenningar, sem mótuð í orðum nánast eins og þeim sem ég HAD endurtekin, þótt ef til vill lægri Bókstaflega. Var muna: Copulation og speglum eru viðurstyggilega. Texta alfræðiritið segir: Fyrir einn af þessum gnostics, sýnilega alheimurinn var blekking eða (nánar) a sophism. Fatherhood og speglum eru viðurstyggilega vegna þess að þeir margfaldast og dreift Það alheimsins. Ég sagði honum í öllum truthfulness, að ég ætti eins að sjá að hlutur. Nokkrum dögum seinna Hávaði það. Þetta sló mig, því scrupulous cartographical vísitölur Ritter's Erdkunde Were plentifully Uqbar ókunnugt um nafn. Næsta dag, Bioy hringdi í mig frá Buenos Aires. Hann sagði að hann hefði í grein um Uqbar, bindi XLVI í alfræðirit. Nei, nafn Villutrúarmaður, en fréttir af kenningu hans, mótuð í orðum nánast eins og endurteknar eftir honum, þó-kannski-bókstaflega óæðri. Hann muna: Copulation og speglum eru viðurstyggilega. Texta alfræðiritið segir: Fyrir einn af þeim gnostics, sýnilega alheimurinn var blekking eða (nánar) a sophism. Spegill og foreldraorlof eru viðurstyggilega (speglum eru Hateful og Fatherhood) vegna þess að þeir margfaldast og miðla. Ég sagði honum, Satt best, ég myndi vilja sjá þessi hlutur. Nokkrum dögum síðar leiddi hann. Þetta sló mig vegna þess að scrupulous cartographical vísitölur Erdkunde ókunnugt Ritter á Uqbar fullu nafni. The taka Bioy Hávaði var í raun, Bindi XLVI af ensk-American Cyclopaedia. Á hálfa titilsíðu og hryggur, the stafrófsröð merking (Tor-Ups) var að afrita okkar En í stað þess að 917, það innihélt 921 síður. Fleiri síður Þessir fjórir upp á grein um Uqbar, sem (eins og lesandinn mun hafa tekið eftir eru) Var ekki gefið til kynna með bókstöfum merkingu. Við Ákveðinn síðar að það var engin önnur Mismunur á milli bindi. Bæði af þeim (eins og ég tel ég hafa gefið til kynna) eru reprints tíunda alfræðiorðabók Britannica. Áunninn HAD Bioy Sumir sögulegu afrita á hættir eða öðrum. Rúmmál var í raun fært Bioy XLVI af ensk-American Cyclopaedia. Á titilsíðu og hryggur, the stafrófsröð (Tor-Ups) var að afrita okkar, en í staðinn fyrir 917 sem eru 921 síður. Þessir fjórir fleiri síður til grein um Uqbar, ekki veitt (eins og lesandinn mun hafa tekið eftir) við stafrófsröð. Við komumst síðar að það er engin munur á milli bindi. Þessar tvær (eins og ég hef gefið til kynna) eru reprints tíunda alfræðiorðabók Britannica. Bioy eignast eintak hans í einni af mörgum útboðum. Við að lesa grein Sumir kæra. Framrás muna eftir Bioy Was Óvæntur Kannski sú eina. The hvíla af honum þótti mjög plausible, fjarlægja í samræmi við almennar tón í verkið og (eins og eðlilegt er) smá leiðinlegur. Að lesa hana yfir aftur, komst við neðan við prósa Hárnákvæm grundvallaratriði its Vagueness. Hver af fjórtán nöfn mynstrağur í Landfræðileg hluta viðurkennt við aðeins þrjú - Khoràsàn, Armenía, Erzerum - skjóta í texta í vafasöm leið. Af sögulegum nöfn, aðeins eitt: að töframaður impostor Smerdis, Notadu fleiri sem samlíking. Minnismiðann virðast festa mörkum Uqbar, en voru its nebulous Miðað ám og gígurinn og fjallgarðar af sama svæði. Við að lesa, til dæmis, að láglendi í Tsai Khaldun og Axa Delta Merktu suður landamæri og að á eyjunum í Delta villtum hestum procreate. Allt þetta, í fyrsta hluta á síðu 918. Í sögulegum kafla (bls. 920) Við komumst að sem afleiðing af Kirkjudagatöl ofsóknir í þrettánda öld Rétttrúnaðar trúuðu reynt á þessir hælis eyjar, Hvar á þennan dag og obelisks þeirra áfram þar sem það er ekki óalgengt að unearth steini þeirra speglar . Kafla um tungumálanám og bókmenntum Var stutt. Aðeins einn eiginleiki er vert að recollection: ATHYGLI það Uqbar sem var bókmenntir ímyndunarafl og einn af epics og þjóðsaga þess að aldrei sem vísað er til veruleika, en til tveggja ímynduðu svæði Mlejnas og Tlön ... The heimildaskrá talin fjögur bindi sem við höfum ekki enn fundið, þótt þriðja - Silas Haslam: Saga Land Called Uqbar, 1874 - tölur í bæklingum um verslunina bók Quartich Bernard's (1). The fyrstur, Lesbare und Bemerkungen uber das Land lesenswerthe Ukkbar í Klein-Asien, dagsetningar frá 1641 og er verk Johannes Valentinus Andrea. Staðreynd Þetta er marktækur; nokkrum árum síðar, ég kom á unsuspected Þetta nafn á síðum De Quincey (Ritverk, Bindi XIII) og komst að því að það belonger að Herman guðfræðingur til WHO, snemma á sautjándu öld, lýsti ímynduðu samfélagi Rosae Crucis - samfélagi sem aðrir Stofnað Síðar í eftirlíkingu af það sem ég hafði prefigures. Við lesa sum standa í greininni. Framrás minnti eftir Bioy var kannski aðeins á óvart. The hvíla virtist mjög plausible, mjög fast við almennu tón í verkið og (að sjálfsögðu) aðeins leiðinlegur. Rereading komst undir ströngum handrit grundvallarréttur vagueness. Af þeim fjórtán nöfn á landfræðilega hluta, viðurkennt aðeins þriggja Khoràsàn, Armenía, Erzurum "skjóta inn textanum af óljós leið. Historical nöfn, aðeins eitt: að impostor Esmerdis töframaður, ákalla fleiri sem samlíking. Minnismiðann virtist skilgreina mörk Uqbar, en nebulous tilvísun sínum stig voru árnar og gígurinn og keðjur af sama svæði. Við að lesa, til dæmis, að láglendi í Tsai Khaldun og Axa Delta define syðri brún og í eyjum á Delta villtum hestum procreate. Að ofan 918. Í sögulegum kafla (bls. 920) og við lærðum að vegna trúarlegra ofsóknir í þrettánda öld Rétttrúnaðar hafa leitað skjóls í eyjum, þar sem obelisks þeirra enn áfram og það er ekki sjaldgæft að exhume steini spegill þeirra. Tungumál og bókmenntir kafla var stutt. Eitt eftirminnilegt lögun: það tekið fram að rit var Uqbar ímyndunarafl og að epics og Legends aldrei vísað til veruleika, en til tveggja ímynduðu svæði Mlejnas og Tlön ... Bókmenntir taldar fjórar bindi sem við höfum ekki fundur, þó þriðja Silas Haslam: Saga Land Called Uqbar er 1874 sem er í bæklingum bókasafn Bernard Quaritch. (1) Fyrsta Lesbare und Bemerkungen uber das Land lesenswerthe Ukkbar í Klein-Asien, dagsetningar frá 1641 og er verk Johannes Valentinus Andre. Sú staðreynd er mikilvæg, a par af ár seinna, kom ég með því að nafn á síðum De Quincey óvænt (Ritverk, þrettánda bindi) og ég vissi það var þýskur guðfræðingur sem í upphafi sautjándu aldar lýsti ímynduðu samfélagi sem Rose -Cross-stofnendur og aðrir, í eftirlíkingu af því sem hann foreshadowed. Um kvöldið fórum við National Library. Til einskis við uppurin kortabóka, bæklingum, annuals af Landfræðileg samfélög, 'ferðast og Æviminningar Sagnfræðingar': enginn alltaf verið í Uqbar HAD. Hvorugur gerði almenna vísitölu alfræðiritið Bioy's That nafn skrá sig. Næsta dag, Carlos Mastronardi (sem ég hefði málið skyldur) hafa tekið eftir svarta og gull covers the ensk-Ameríska Cyclopaedia í bókabúð á Corrientes og Talcahuano ... Hafa lært og skoðaði Volume XLVI. Auðvitað var ég ekki fundið minnsta vísbending um Uqbar. Um kvöldið fórum við National Library. Til einskis við búinn kortabóka, bæklingum, annuals landfræðilegra þjóðfélög, skýrslum um ferðamenn og sagnfræðingar, enginn hafði alltaf verið í Uqbar. Almenna vísitölu alfræðiritið Bioy's skráður einnig nafn. Næsta dag, Carlos Mastronardi (sem ég hafði vísað málinu) bendingu í bókabúð á Corrientes og Talcahuano svarta og gull rass af ensk-American Cyclopaedia ... Hann kom og spurði hljóðstyrkur XLVI auðvitað gerði hann ekki fundið neitt merki um Uqbar. II [Top] Sumir takmarkað og hnignað minningu Herbert Ashe, verkfræðingur í Suður-járnbrautir, helst á hótelinu á Adrogue, Meðal effusive Honeysuckle og í illusory djúpum speglum. Á ævi hans, þá hef ég þjáðst af unreality, eins og gera svo mörgum Englendinga, ellefu dauðir, ég er ekki einu sinni að draugur ég var þá. Hann var mikill þreyttur og listless og skegg hans var 11:00 Been rétthyrnd netinu. Ég skil að ég var Ekkill, án barna. Á nokkurra ára fresti ég vildi fara til Englands að heimsækja (ég dæma frá Sýna okkur ljósmyndir) a sundial og nokkrum Oaks. Ég og faðir minn HAD gert eitt af þessum loka (sem lýsingarorð er Óþarfa) Español Vina sem byrja með því að útiloka trúnaði og mjög fljótlega undanþágur með valmynd. Þeir Notað til að bera út skipti á bókum og dagblöðum og taka þátt í taciturn skák leikir ... Ég man hann á hótelinu gang, með stærðfræði bók í hönd hans, horfir á irrecoverable Stundum litum himins. Eitt síðdegi, talaði við í duodecimal kerfi tala (í Tólf Hver er skrifuð eins og 10). Ashe umbreyta sagði að hann var einhvers konar töflum úr duodecimal til sexagesimal kerfi (í sextíu Hver er skrifuð eins og 10). Bætti hann við það verkefni sem hafði verið falið að honum af norskum, í Rio Grande du Sul Við höfðum þekkt hann í átta ár og ég hafði aldrei minnst á ferð í því héraði ... Við tölum um líf landi, sem varðveitir, um Brazilian Orðsifjafræði orðsins gaucho (sem enn Sumir Uruguayans pronounceable gaúcho aldri) og ekkert meira var sagt - getur Guð fyrirgefa mér - af duodecimal virka. Í september 1937 (við vorum ekki á hótelinu), Herbert Ashe andaðist af Ósæðarrifan aneurysm. Nokkrum dögum áður en ég fékk innsigluð og staðfest pakka frá Brasilíu. Það var stór bók í áttunda. Ashe vinstri það á barnum, HVAR - mánuði síðar - ég fann hana. Ég fór að blaða í gegnum það og lenda í undrandi og loftgóður tilfinningu svimi Sem Ég skal ekki lýst, að þetta er ekki frétt af tilfinningum mínum En Uqbar og Tlön og Orbis Tertius. Á einn af the kvöld af íslam, sem heitir Nótt frá Nætur, því leyndu hurðir himinsins opna á breidd og um vatn í jars Verða sætari, ef þeir hlera opna, ég mundi ekki Feel Það sem ég fannst síðdegis. Bókin var skrifuð 1001 sem er innifalinn í Español og síðum. Á gulu leðri aftur Ég las Hver voru þessi forvitinn Endurtekin orð á titilsíðu: A First Encyclopedia of Tlön. Vol XI. Hlaer til Jangr. Það var engin vísbending um dagsetningu eða stað. Á fyrstu síðunni og á blöðum úr pappír silki á því afgreidd lit plötum There Was stimpla með bláum sporöskjulaga með þessari yfirskrift: Orbis Tertius. Tveimur árum áður en ég hafði fundið í hljóðstyrk upp ákveðnu sjóræningi alfræðirit, a yfirborðskennt lýsing á nonexistent landi, nú ég efni á tækifæri eitthvað dýrmætari og arduous. Nú er ég held í höndum mínum mikla methodical brot af allri sögu óþekkt reikistjarna, með its Arkitektúr og að spila á spil hennar, með Dread af goðsögur hennar og Sextán af tungumálum þess, með STi keisara og þess sem þú, með STi steinefnum og þess STi fuglar og fiskar, með algebru og eldur Þess STi, STi með guðfræðileg og frumspekilegur deilum. Og allt það sett fram, samhangandi, og engin sýnileg kenningarlegar ásetning eða tóninn skopstæling. Sumir takmarkað og hnignað minningu Herbert Ashe, verkfræðingur frá suðurhluta járnbrautir, helst á hótelinu Adrogué milli effusive honeysuckles og í illusory djúpum speglum. Í lífinu hann þjást af unreality, eins og svo margir Englendinga, dauður, ekki einu sinni draug hann var þá. Hann var hár og listless og þreyttur rétthyrnd skegg hafði einu sinni verið rauður. Ég skil hann var widower, án barna. Á nokkurra ára fresti að hann fór til Englands til að heimsækja (miðað við ljósmyndir sem hann sýndi okkur) a sundial og sumir Oaks. Faðir minn hafði hrist hann (the sögn er mikil) einn af þessum ensku vináttu sem byrja með því að útiloka trúnaði og mjög fljótlega undanþágur með umræðu. Þeir notuðu til að bera til að skiptast á bókum og dagblöðum, oft slá á skák, taciturn ... Ég man hann í gang á hótelinu, með stærðfræði bók í hönd, horfa á sinnum litum himins sökkt. Eitt síðdegi, talaði við duodecimal númerakerfi (þar sem tólf er skrifuð eins og 10). Ashe sagði að hann væri að flytja bara veit ekki hvað ég á að sexagesimal duodecimal töflum (sem sextíu er skrifuð eins og 10). Hann bætti við að vinna hafði verið ráðinn af norskum í Rio Grande do Sul Átta ára sem þekktu hann og hafði aldrei minnst dvöl hans á þessu svæði ... Við tölum um presta líf varðveitir, um Brazilian Orðsifjafræði orðsins gaucho (sem sumir gamall Oriental enn dæma gaúcho) og ekkert meira var: "Guð fyrirgef mér duodecimal virka. Í september 1937 (við vorum ekki á hótelinu) Herbert Ashe andaðist af Ósæðarrifan aneurysm. Dögum áður hafði hann fengið frá Brasilíu innsigluðu og löggiltur pakkann. Það var Octavo. Ashe vinstri barnum þar, mánuðum síðar, ég fann hana. Ég fór að blaða í gegnum það og mér leið svima og smávegis forviða að ekki lýst, því það er ekki sagan af tilfinningum mínum en Uqbar og Tlön og Orbis Tertius. Í nótt af íslam sem kallast Night á Nætur eru opnaðir breitt um hlið leyndarmál himni er sætari og vatn í kanna, ef þessar dyr opnar, finn ekki það sem ég fann að síðdegi. Bókin var skrifuð á ensku og 1001 síðum. Í gulu leðri hrygg lesa þessar forvitinn orð sem endurtekin er falskur yfir: A First alfræðiorðabók af Tlön. Vol. XI. Hlaer til Jangr. Það var engin vísbending um dagsetningu eða stað. Á fyrstu síðunni og á blaði af pappír vefi sem nær einn af the Kölnarvatn plötum var stimplað með bláum sporöskjulaga með þessari yfirskrift: Orbis Tertius. Fyrir tveimur árum ég hefði fundið á hljóðstyrk upp ókeypis æfa stutta lýsingu á fölskum landi geymt fyrir mig nú möguleika á að eitthvað dýrmætari og fleiri arduous. Nú er ég held í höndum mínum mikla methodical brot af sögu óþekkt reikistjarna, með arkitektúr og að spila á spil þess, að Dread af goðsögur hennar og Sextán af tungumálum þess, keisara og höf hennar, steinefni og þess fuglar og fiskar, með algebru og eldi hans, guðfræðingur og frumspekilegur deilum sínum. Þetta sett fram, samhangandi, án þess að sýnilegur tilgangur kenningarlegar eða parodic tón. Í "Ellefta bindi" sem ég hef minnst eru Allusions til undan og síðari bindum. Í grein í N. R. F. Sem nú er klassík, Nestor Ibarra hefur neitað tilvist þessara félaga bindi, Ezequiel Martinez Estrada og Drieu La Rochelle refuted sem hafa Doubt, ef til vill victoriously. Staðreyndin er sú að hingað til mest duglegir Fyrirspurnir Hafa Been árangurslausar. Til einskis Eigum Upendo bókasöfnin í tveimur Americas og Evrópu. Alfonso Reyes, þreyttur á þessum víkja aðferðir sleuthing, leggur til að við ættum öll undertaker það verkefni að Reconstructing mörgum og weighty taka skortir Það eru: Dæmi leonem ungulates. Ég Reikna, hálft í gríni og hálft í alvöru, kynslóð tlonistas Það ætti að nægja. Þetta venturesome Koma útreikningur okkur aftur til grundvallar vandamál: Hverjir eru uppfinningamenn af Tlön? The fleirtölu er óhjákvæmilegt, því þá kenningu um einn uppfinningamaður - óendanlega Leibniz laboring burt darkly og hæversklega - hefur-verið einróma afsláttur. Það er conjectured this Brave New World Það er verk fyrir leyndarmáli samfélag stjörnufræðingar, líffræðingar, verkfræðingar, metaphysicians, skáld, efnafræðinga, algebraists, moralists, listmálarar, geometers ... Leikstjóri af hylja maður snillingur. Einstaklingar húsbóndi Þessar fjölbreyttu greinum er mikið, en ekki svo þeir geta frumleika og minna svo fær um subordinating Þeir sem frumleika til krefjandi og markvisst áætlun. Þessi áætlun er svo mikill að framlag Hver rithöfundur er infinitesimal. Í fyrsta Tlön Talið var að var aðeins óreiðu, og ábyrgðarlaus leyfi af the ímyndun, nú er vitað að alheimur er náinn og lög sem ríkisstjórnin sem hafa verið mótuð það, að minnsta kosti til bráðabirgða. Látum það nægja fyrir mig að muna það sýnilegt Mótsagnir í ellefta bindi eru grundvallaratriði grundvöllur fyrir sönnun að önnur bindi eru til, svo Lucid og nákvæmt er til fylgjast í það. The vinsæll tímarit, með Umfram fyrirgefa, hafa breiðst út fréttir af Dýrafræði og landslag af Tlön, ég held STi gagnsæ tígrisdýr og turn af blóði Kannski Ekki Merit Áframhaldandi Attention af öllum mönnum. Á ég að hættuspil til að biðja um nokkrar mínútur til að expound its hugtak alheimsins. Í "ellefta bindi:" Ég tala ekki frekari heimildir til að bindi og fordæmi. Nestor Ibarra í klassískt hlutur, og N. R. F., hefur neitað tilvist þessara bindi; Ezequiel Martínez Estrada og Drieu La Rochelle hafa verið refuted, kannski victoriously að efast. Staðreyndin er sú að svo miklu leyti sem mest duglegir fyrirspurnir hafa verið árangurslausar. Til einskis við boðberi bókasöfnin í tveimur Americas og Evrópu. Alfonso Reyes, fed upp með þessum hrakningum víkja í tengslum við lögreglu, leggur til að allir sem ráðist er í það verkefni að reconstructing mörgum tomes sem vantar: Dæmi leonem ungulates. Reiknar og mockery í raun, að kynslóð tlönistas kann að nægja. Það færir okkur aftur að áhættusamt computing undirstöðuatriði vandamál: Hverjir finna upp Tlön? The fleirtölu er óhjákvæmilegt, vegna þess að þá tilgátu af a einn uppfinningamaður "er óendanlegur Leibniz laboring í myrkri og í hógværð, hefur verið einróma hent. Það er conjectured að Brave New World er verk fyrir leyndarmáli samfélag stjörnufræðingar, líffræðingar, verkfræðingar, metaphysicians, skáld, efnafræðinga, algebraists, moralists, listmálarar, geometers ... beint af hylja maður snillingur. Miklu mæli einstaklingar sem ráða yfir þessum fjölbreyttu greinum, en ekki fært um að uppfinningu og minna gert uppfinningu strangt kerfisbundin áætlun. Þessi áætlun er svo mikill að framlag hvers rithöfundur er infinitesimal. Í fyrstu var talið að Tlön var aðeins óreiðu, sem er ábyrgðarlaus leyfi af the ímyndun, nú þekkt að vera náinn Cosmos og lögum sem gilda um það hafa verið gerðar, jafnvel til bráðabirgða. Nægja það að muna að ljóst mótsagnir á ellefta bindi eru hornsteinn sönnun á tilvist hinna: alveg eins skörp og svo er til sem hefur komið fram í henni. Vinsæl tímarit hafa greint frá, með pardonable umfram, Dýrafræði og landslag af Tlön, ég held að gagnsæ tígrisdýr og turn af blóði ekki skilið, ef til vill áframhaldandi athygli af öllum mönnum. Ég þori að biðja um nokkrar mínútur til þess að hugmyndir hans alheimsins. Þekkt fyrir að rifrildi allra tíma Hume Berkeley's That Did ekki hirða refutation reglur viðurkenna Þeir gerðu valdið því að hirða sannfæringu. Þetta dictum er rétt að öllu leyti í þess forrit til jarðar, en í Tlön alfarið rangt. Þjóðir á jörðinni eru congenitally idealist. Tungumál þeirra og derivations tungumál þeirra - trú, bréf, frumspeki - allur presuppose hughyggjan. The veröld fyrir þeim er ekki concourse hluta í bili, er það ólíkum röð sjálfstæðra athafna. Það er Gagnfær og tíma í aðalatriðum, Nei. Það eru engir nafnorð í Tlön's Conjectural Ursprache, þaðan sem "nútíminn" tungumál og mállýskur eru fengnar: Það eru ópersónulegum sögnum, breytt af monosyllabic variant (eða forskeyti) með adverbial gildi. Til dæmis: Það er engin orð sem samsvarar orðinu "tunglið", en það er sögn en español Hver vildi vera "til tunglsins" eða "til moonate." "Tunglið reis yfir ána" er axaxaxas MLO hlor u Fang, eða bókstaflega "upp onstreaming það bak við tunglið." Hume benti á öllum tíma sem rök Berkeley's ekki viðurkenna hirða svara og valda ekki hirða sannfæringu. Þessi skoðun er alfarið Sannorður í umsókn þeirra um landið Tlön alfarið rangt. Þjóðir á jörðinni eru congenitally idealist. Tungumál þeirra og derivations tungumál þeirra, trúarbrögðum, bókmenntum, frumspeki, presuppose hughyggjan. The veröld fyrir þeim er ekki keppni af hlutum í rúmi er ólíkum röð sjálfstæðra athafna. Það er nefnt tíma, en ekki staðbundin. Það eru engir nafnorð í conjectural Ursprache Tlön af tungumálum sem "núverandi" og mállýskur: Það eru ópersónulegum sögnum, flokkaður eftir variant (eða forskeyti) monosyllabic adverbial gildi. Til dæmis: Það er engin orð fyrir orð tungl, en það eru sagnir á spænsku myndi lunecer eða mól. Tunglið reis yfir ána er sagt axaxaxas mlO hlör u Fang sem er í röð: allt (upp) luneció rennsli á bak-varanlegur. (XUL Sól þýðir í stuttu máli: UPA eftir perfluyue karlkyns tungl. Hækkun, onstreaming það bak við tunglið. Undanfarandi Gildir til tungumálum suðurhluta jarðar. Í þeim á norðurhveli jarðar (á Hvers Ursprache Það er mjög lítið til af gögnum í ellefta bindi) er helsta tækið er ekki sögn, en monosyllabic lýsingarorð. Nafnorðinu er mynduð af Uppsöfnun lýsingarorða. Þeir Ekki segja "tungl," heldur "umferð Airy-ljós á dökkum" eða "föl-appelsínugult-af-the-Sky" eða önnur slík samsetning. Í dæminu valin massa lýsingarorð vísar til alvöru hlut, en þetta er eingöngu Fortuitous. Bókmenntir þessarar jarðar (eins og subsistent heiminum Meinong's) abounds í hugsjón hlutir sem eru convoked og leyst upp í smá stund, samkvæmt ljóðræn þörfum. Á Times Þau eru ákveðin með því að aðeins simultaneity. Það eru tveir hlutir um greinargerðir sem dómstólnum á skilmálum, einn af sjón og hljóðrænum Annar stafurinn: lit hækkandi sól og fjarlægur kvein fugl. Það eru hlutir úr mörgum hugtök: sól og vatn á brjósti a sundmaður er, þeim mun óljós tremulous hækkaði litur okkar sem við sjáum með augunum lokað tilfinningu unnið Ásamt með ánni og einnig með því að sofa. Þessar second-gráðu hlutir geta vera sameina með öðrum, með því að nota á vissum skammstafanir, ferlið er nánast óendanlega. There ert frægur ljóð samanstendur af eitt orð gríðarlegur. Þessi orð myndar ljóðræn mótmæli búin til af höfundi. Sú staðreynd að enginn trúir á raunveruleika nafnorð Orsök Þversögnin fjölda þeirra til að unending. Tungumál Tlön Inniheldur norðurhveli jarðar er allt í nafnorð af Indó-evrópsk tungumál - og margir aðrir eins og heilbrigður. Það vísar til á tungumálum suðurhluta jarðar. Á norðurhveli jarðar (þar af eru nokkrar upplýsingar Ursprache í ellefta bindi) helsti klefi er ekki sögn, en monosyllabic lýsingarorð. Nafnorðinu er mynduð af uppsöfnun lýsingarorða. Nei tunglið segir: sagði loft-ljós á dökk, hringlaga eða appelsína-dauft-DE1 himininn eða önnur söfnun. Sé um að ræða lýsingarorð valið massi samsvarar raunverulegum hlut, þá staðreynd er eingöngu coincidental. Í bókmenntum þessarar jarðar (og í heiminum subsisting á Meinong) hugsjón mótmæla miklu mæli, boða og slitið í senn, samkvæmt ljóðræn þörfum. The ákvörðuð, stundum, eingöngu simultaneity. Það eru hlutir sem samanstendur af tveimur hugtökum, einn sjón og einn hljóðrænum, lit uppreisn og fjarlæga kvein fugl. Þeir eru af mörgum: sól og vatn gegn brjósti að sundmaður er, þeim mun óljós tremulous bleika auga er lokaður skilningi sem fer í burtu með ánni og einnig með því að sofa. Þessir hlutir geta vera sameina með second-gráðu annarri aðferð við ákveðnar skammstafanir, er nánast óendanlega. There ert frægur ljóð samanstendur af eitt gríðarlegt orð. Þessi orð myndar ljóðræn mótmæli búin til af höfundi. Sú staðreynd að enginn trúir á raunveruleika nafnorð er, mótsagnakennt, sem er endalaus í númerið. Á tungumálum á norðurhveli jarðar á Tlön hafa öll nöfn Indó-evrópsk tungumál og margt fleira. Það er ekki ýkjur að staðhæfa að um klassíska menningu Tlön compris aðeins einn agi: sálfræði. Allir aðrir eru víkjandi á það. Ég hef sagt að karlmenn af þessari plánetu alheimsins hugsuð sem röð af andlegu ferli sem ekki þróa í rúm En á fætur í tæka tíð. Ascribable að sögulegum Spinoza ótæmandi guðdómleika eiginleikum eftirnafn og hugsun, að enginn í Tlön mundi skilja Juxtaposition fyrsta (sem er einkennandi fyrir tiltekin ríki aðeins) og annað - Hver er fullkominn samheiti af alheiminum. Með öðrum orðum, þeir gera ekki hugsuð Það er viðvarandi í staðbundna tíma. Skynjun ský af reyk á sjóndeildarhringnum og þá af brennandi sviði og þá um hálf-slökkt sígarettu Þessi framleiddi Logi er talið dæmi um tengsl hugmynda. Það er ekki ýkjur að segja að klassískri menningu Tlön samanstendur aðeins einn agi: sálfræði. Hin eru víkja fyrir það. Hann sagði að menn þessarar plánetu ímynda alheimsins sem röð af andlegu ferli sem þróast í rúm en fætur í tæka tíð. Spinoza ascribes til ótæmandi guðdómleika hans eiginleikum eftirnafn og hélt að enginn myndi skilja í Tlön the juxtaposition fyrsta (sem er dæmigerður einungis tilteknum ríkjum) og annað, sem er fullkomið samheiti fyrir alheiminum. Þetta er í öðrum orðum, gera hugsa ekki þessi staðbundna endist með tímanum. Skynjun af reyk á sjóndeildarhringnum og eftir því sviði á eldinn og eftir hálft-slökktur sígarettu sem framleiddi brennandi er talið dæmi um tengsl hugmynda. Þetta Einhyggja eða hughyggjan heill ógilda allar vísindi. Ef við að útskýra (eða dómari) a Fact, við að tengja það við annað; Slíkt tengir í Tlön er latere Hvaða ástand á viðfangsefninu getur ekki hafa áhrif á eða lýsa fyrri ástand. Sérhver andlegt ástand er irreducible: þar stöðuvatn staðreynd-af nafngiftir það - þ.e. að flokka hana - felst í fölsun. Frá Hver Það getur verið að það eru engin sýning á Tlön vísindi, ekki einu sinni rök. The óvæntur sannleikurinn er sá að þeir gera ekki vera til, og í næstum uncountable númer. Það sama við heimspeki gerist gerist með nafnorð eins og á norðurhveli jarðar. Sú staðreynd að sérhver hugmyndafræði er við skilgreiningu á dialectical leikur, a Philosophie des als Ob, hefur valdið þeim að margfalda. Það er mikið af frábærum kerfi ánægjulegt hönnun eða tilkomumikill tegund. 9abo6n7moy02w6lqzhr8mfakqrf74il 0 2091 3895 2010-09-23T05:01:45Z Spritzfellow 3082342 3895 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2059 3879 2010-09-23T05:00:38Z Spritzfellow 3082342 3879 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2087 3893 2010-09-23T05:01:39Z Spritzfellow 3082342 3893 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 3934 3893 2010-09-23T05:51:15Z Spritzfellow 3082342 secret, double secret, secrety secret pages only the internet can see, yes precious 3934 wikitext text/x-wiki [[File:Placeholder|right|300px]]Dudes [[Category:t. edward bak]] [[Category:julia gfroerer]] [[Category:zack soto]] [[Category:jesse reklaw]] [[Category:t. taco choadsmoker]] 2semdofjly4wlsi3gcn335c1sneeycm 0 2027 3860 2010-09-23T04:59:36Z Spritzfellow 3082342 3860 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2030 3863 2010-09-23T04:59:47Z Spritzfellow 3082342 3863 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2031 3864 2010-09-23T04:59:52Z Spritzfellow 3082342 3864 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2101 3900 2010-09-23T05:02:00Z Spritzfellow 3082342 3900 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 3902 3900 2010-09-23T05:10:33Z Spritzfellow 3082342 Adding categories 3902 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! 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[[Category:publishers]] [[Category:distros]] [[Category:crappy comics]] ew03qq01y6u1etiz8vteflyb9nfutco 3905 3904 2010-09-23T05:11:44Z Spritzfellow 3082342 myspace 3905 wikitext text/x-wiki [[File:Placeholder|right|300px]] {| border="0" cellpadding="0" cellspacing="0" id="headerTable" width="100%" | bgcolor="#2358b8"| |- | bgcolor="#2358b8"| =[http://www.myspace.com/ MySpace a place for friends]= People▼*People *MySpace *Web *Music *Video *Images *Games Powered by Google |- | bgcolor="#2358b8"|*{| class="rail" |- bgcolor="#1b4591" | class="rail"| |} [http://www.myspace.com/#pm_cmp=splash_nav_home Home] *{| class="rail" |- bgcolor="#1b4591" | class="rail"| |} [http://browseusers.myspace.com/Browse/Browse.aspx Browse People] *{| class="rail" |- bgcolor="#1b4591" | class="rail"| |} [http://searchservice.myspace.com/index.cfm?fuseaction=sitesearch.friendfinder Find Friends] *{| class="rail" |- bgcolor="#1b4591" | class="rail"| |} [http://music.myspace.com/ Music] *{| class="rail" |- 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align="left" bgcolor="#ffffff" class="text" colspan="3" style="word-wrap: break-word;" valign="bottom" width="300"|tim<br />tim goodyear |- | {| align="center" cellpadding="0" cellspacing="0" id="Table2" width="300" | bgcolor="#ffffff" class="text" height="75" width="75"|[http://viewmorepics.myspace.com/index.cfm?fuseaction=user.viewAlbums&friendID=73175580 ] | bgcolor="#ffffff" class="text" height="75" width="15"| | align="left" bgcolor="#ffffff" class="text" height="75" width="193"|that honky dong is donky long & ye shall ride from helmet to hilt Male<br />33 years old<br />PORTLAND, Oregon<br />United States <br /><br />Last Login: 9/9/2010<br /> |- | colspan="3" style="padding-left: 3px;"| |- valign="middle" | colspan="3" style="padding-left: 3px;"|View My: [http://viewmorepics.myspace.com/index.cfm?fuseaction=user.viewAlbums&friendID=73175580 Pics] | [http://www.myspace.com/73175580/music/playlists Playlists] |} |} <br />{| border="1" cellpadding="0" cellspacing="0" 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break-word;" width="175"|james brown*devo*spinal tap*deltron*blur*beefheart*xtc*stooges*run dmc*ween*mf doom*strangelers*sun ra*billy childish*cypris hill*white pee*misfits* |- id="MoviesRow" | align="left" bgcolor="#b1d0f0" nowrap="nowrap" valign="top" width="100"|Movies | bgcolor="#d5e8fb" id="ProfileMovies" style="word-wrap: break-word;" width="175"|creature from the black lagoon*repo man*rebel without a cause*the crimson ghost* cry baby*the magic christian*beat the devil*touch of evil*ed wood*nacho libre* pootie tang*stand by me*zoolander*big lebowski*they live*a boy and his dog* fire walk with me*alphaville*high school confidential*monster on campus*naked*boss nigger*cock fighter*miami blues*freaked*existenz* |- id="TelevisionRow" | align="left" bgcolor="#b1d0f0" nowrap="nowrap" valign="top" width="100"|Television | bgcolor="#d5e8fb" id="ProfileTelevision" style="word-wrap: break-word;" width="175"|the young ones-cops-trailer park boys-batman{adam west bert ward} |- id="BooksRow" | align="left" bgcolor="#b1d0f0" nowrap="nowrap" valign="top" width="100"|Books | bgcolor="#d5e8fb" id="ProfileBooks" style="word-wrap: break-word;" width="175"|giving tree-quantum psychology-head on/reposesed- flex mentallo-notebooks of a naked youth |- id="HeroesRow" | align="left" bgcolor="#b1d0f0" nowrap="nowrap" valign="top" width="100"|Heroes | bgcolor="#d5e8fb" id="ProfileHeroes" style="word-wrap: break-word;" width="175"|pootietang-julian cope-buzzy |} |} <br />{| bgcolor="#ffffff" border="1" cellpadding="0" cellspacing="0" class="userProfileDetail" width="300" | align="left" bgcolor="#6699cc" class="text tdborder" style="word-wrap: break-word;" valign="center" width="300"| tim's Details |- valign="top" | class="tdborder"| {| align="center" bgcolor="#ffffff" border="0" cellpadding="3" cellspacing="3" width="300" |- id="Status:Row" | align="left" bgcolor="#b1d0f0" valign="top" width="100"|Status: | bgcolor="#d5e8fb" id="ProfileStatus:" style="word-wrap: break-word;" width="175"|In a Relationship |- id="Here for:Row" | align="left" bgcolor="#b1d0f0" valign="top" width="100"|Here for: | bgcolor="#d5e8fb" id="ProfileHere for:" style="word-wrap: break-word;" width="175"|Friends |- id="Hometown:Row" | align="left" bgcolor="#b1d0f0" valign="top" width="100"|Hometown: | bgcolor="#d5e8fb" id="ProfileHometown:" style="word-wrap: break-word;" width="175"|san jose |- id="Body type:Row" | align="left" bgcolor="#b1d0f0" valign="top" width="100"|Body type: | bgcolor="#d5e8fb" id="ProfileBody type:" style="word-wrap: break-word;" width="175"|5' 11" / Body builder |- id="Ethnicity:Row" | align="left" bgcolor="#b1d0f0" valign="top" width="100"|Ethnicity: | bgcolor="#d5e8fb" id="ProfileEthnicity:" style="word-wrap: break-word;" width="175"|Other |- id="Religion:Row" | align="left" bgcolor="#b1d0f0" valign="top" width="100"|Religion: | bgcolor="#d5e8fb" id="ProfileReligion:" style="word-wrap: break-word;" width="175"|Other |- id="Zodiac Sign:Row" | align="left" bgcolor="#b1d0f0" valign="top" width="100"|Zodiac Sign: | bgcolor="#d5e8fb" id="ProfileZodiac Sign:" style="word-wrap: break-word;" width="175"|Virgo |- id="Children:Row" | align="left" bgcolor="#b1d0f0" valign="top" width="100"|Children: | bgcolor="#d5e8fb" id="ProfileChildren:" style="word-wrap: break-word;" width="175"|Someday |- id="Education:Row" | align="left" bgcolor="#b1d0f0" valign="top" width="100"|Education: | bgcolor="#d5e8fb" id="ProfileEducation:" style="word-wrap: break-word;" width="175"|High school |- id="Occupation:Row" | align="left" bgcolor="#b1d0f0" valign="top" width="100"|Occupation: | bgcolor="#d5e8fb" id="ProfileOccupation:" style="word-wrap: break-word;" width="175"|skrillionaire |} |} {| border="1" cellpadding="0" cellspacing="0" class="userProfileCompany" width="300" | align="left" bgcolor="#6699cc" class="text tdborder" height="10" style="word-wrap: break-word;" valign="center" width="300"| tim's Companies |- | class="tdborder"| {| align="center" border="0" cellpadding="3" cellspacing="3" width="300" | align="left" bgcolor="#b1d0f0" valign="top" width="240"|teenage dinosaur<br />portland, or US<br />thagomizer<br />omnipotent | align="middle" bgcolor="#d5e8fb" valign="top" width="60"|1977-present |} |} | align="center" bgcolor="#ffffff" valign="top" width="15"| | align="center" bgcolor="#ffffff" class="text" valign="top" width="435"|<br /><br />{| align="center" cellpadding="0" cellspacing="0" style="padding: 0pt;" |- align="center" | style="padding: 0pt;"| {| border="1" cellpadding="0" cellspacing="0" class="extendedNetwork" height="75" id="Table1" width="435" | align="center" class="tdborder" style="word-wrap: break-word;" valign="middle" width="435"|tim is in your extended network<br />[http://friends.myspace.com/index.cfm?fuseaction=profile.friendmoods&friendId=73175580 view more] |} |} <br />{| align="center" bgcolor="#ffffff" border="0" cellpadding="0" cellspacing="3" class="latestBlogEntry" width="435" | style="word-wrap: break-word;" width="435"|tim's Latest Blog Entry [[http://blogs.myspace.com/index.cfm?fuseaction=blog.subscribe&friendId=73175580&action=subscribe Subscribe to this Blog]] |- | align="left" bgcolor="#ffffff" height="25" valign="top"|[[http://www.myspace.com/73175580/blog View All Blog Entries]] |} {| bgcolor="#ffcc99" border="0" cellpadding="0" cellspacing="0" class="blurbs" width="435" | align="left" bgcolor="#ffcc99" class="text" height="17" style="word-wrap: break-word;" valign="center" width="300"| tim's Blurbs |- | {| align="center" bgcolor="#ffffff" border="0" cellpadding="3" cellspacing="3" width="435" | align="left" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="435"|About me: thickasaures honkey*right handed*dyslexic*art fag*orange*nose picker*tv baby *sore sholders*goofy foot*word bender*room dweller*hot water junky*comic tard *raspberry eater*sexxx buttler*time bandet*bad @ calling my favoret people *teeth grinding*space case*crass*slow moution *reflected light film*hard chairs*soft bottoms |- | align="left" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="435"|Who I'd like to meet: roddy piper-max ernst-charles willeford-sluggo-genesis p orridge-kool keith- alex cox-james brown-james dean-richard corben-saul williams-jack cole- billy childish-julian cope-terry southern-mr.t-dan obannen-chris rock- edgar allen poe-ringo star-chuck berry-clint howard |} |} <br />{| border="1" cellpadding="0" cellspacing="0" class="userProfileApp" id="appchrome_103419" width="435" | align="left" bgcolor="#6699cc" class="text tdborder" height="15" id="appchromeheader_103419" style="word-wrap: break-word;" width="435"| [http://profile.myspace.com/Modules/Applications/Pages/Canvas.aspx?appId=103419&pm_cmp=mdp_103419_Unknown Movies] |- | class="appcontent tdborder"| |} {| border="0" cellpadding="0" cellspacing="0" class="friendSpace" width="435" | align="left" bgcolor="#ffffff" class="text" height="20" width="435"| {| bgcolor="#ffcc99" cellpadding="0" cellspacing="0" height="20" width="435" | style="word-wrap: break-word;" width="435"| tim's Friend Space (Top 33) |} {| align="center" border="0" cellpadding="5" cellspacing="0" width="435" | bgcolor="#ffffff" colspan="4" style="word-wrap: break-word;" width="435"|tim has 163 friends. |- | {| align="center" border="0" cellpadding="5" cellspacing="0" width="435" | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/goldenlegacy LDYNA SIIAWMLL] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/goldenlegacy ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/teenagedinosaur teenage dinosaur] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/teenagedinosaur ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/flarkmomson shmucky] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/flarkmomson ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/bobbymadness Bobby Madness] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/bobbymadness ] <br /> |} |- | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/levonjihanian Levon] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/levonjihanian ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/johnnydestructonomicon Johnny Destructonomicon] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/johnnydestructonomicon ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/moisesdomingorios Gonzo] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/moisesdomingorios ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/alfrankenstein ] <br /> |} |- | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/gaylordphoenix Edie Fake] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/gaylordphoenix ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/376357336 sh e a] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/376357336 ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/jstone505 Jason Sims a.k.a. SHAFT] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/jstone505 ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/sewage666 The Vault of Sewage] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/sewage666 ] <br /> |} |- | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/100178531 Sam] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/100178531 ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/nicholeleanne ~Nichole~] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/nicholeleanne ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/14598773 Amanda] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/14598773 ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/cadaverizer Col] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/cadaverizer ] <br /> |} |- | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/reliablecomics David King] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/reliablecomics ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/misterbill68 misterbill] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/misterbill68 ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/snock07 Michael] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/snock07 ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" 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width="25%"|[http://www.myspace.com/robotika_comics ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/benjicatmule Ben] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/benjicatmule ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/54339895 Jeremy] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/54339895 ] <br /> |} |- | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/themusiciansofthebritishempire Billy Childish & Musicians Of The British Empire] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/themusiciansofthebritishempire ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/happiestgirl71 Heidi] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/happiestgirl71 ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/alixopulos Trevor Alixopulos] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/alixopulos ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/trailerboyricky Ricky] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/trailerboyricky ] <br /> |} |- | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/steveswortwood Evets Black] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/steveswortwood ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/rockundrolf Harv] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/rockundrolf ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/windycornermagazine Austin] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/windycornermagazine ] <br /> |} | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/reichcomic REICH] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/reichcomic ] <br /> |} |- | align="center" bgcolor="#ffffff" valign="top" width="1"| {| align="center" border="0" cellspacing="0" | align="center" bgcolor="#ffffff" style="word-wrap: break-word;" valign="top" width="107"|[http://www.myspace.com/theotherkaz Kaz(imir)] |- | align="center" bgcolor="#ffffff" valign="top" width="25%"|[http://www.myspace.com/theotherkaz ] <br /> |} |} |- align="right" id="ctl00_cpMain_ctl02_UserFriends1_Tr1" valign="center" | bgcolor="#ffffff" colspan="4"|[http://www.myspace.com/73175580# View tim's Friends:][http://friends.myspace.com/index.cfm?fuseaction=user.viewfriends&friendID=73175580 All][http://www.myspace.com/73175580# | ][http://friends.myspace.com/index.cfm?fuseaction=user.viewfriends&friendID=73175580&view=online Online][http://www.myspace.com/73175580# | ][http://friends.myspace.com/index.cfm?fuseaction=user.viewfriends&friendID=73175580&view=new New] |} |} <br />{| border="0" cellpadding="0" cellspacing="0" class="friendsComments" width="435" | align="left" bgcolor="#ffffff" class="text" height="20" width="435"| {| bgcolor="#ffcc99" border="1" cellpadding="0" cellspacing="0" height="20" width="441" | style="word-wrap: break-word;" width="441"|tim's Friends Comments |} {| align="center" bgcolor="#ffffff" border="0" cellpadding="0" cellspacing="3" width="435" |'''Displaying 25 of 124 comments ( [http://www.myspace.com/73175580/comments View All] | [http://comment.myspace.com/index.cfm?fuseaction=user.viewProfile_commentForm&friendID=73175580 Add Comment] ) ''' |- | bgcolor="#ffcccc"| {| border="1" cellpadding="3" cellspacing="0" width="100%" | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Jul 16 2010 5:05 AM <br /><br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Jul 15 2010 4:46 AM <br /><br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Jul 14 2010 2:51 AM <br /><br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Jul 7 2010 11:04 PM <br /><br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Jul 3 2010 4:48 AM <br /><br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Jul 2 2010 12:22 AM <br /><br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Jun 30 2010 1:36 AM <br /><br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Jun 29 2010 6:29 AM <br /><br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Jun 18 2010 9:38 PM <br /><br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|May 22 2010 1:01 AM <br /><br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Apr 16 2010 3:21 AM <br /><br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Feb 20 2010 12:07 AM <br /><br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Feb 18 2010 5:06 AM <br /><br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Feb 15 2010 12:46 AM <br /><br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Jan 30 2010 8:48 AM <br /><br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Aug 20 2009 12:46 AM <br /><br />Man, our birthdays are 3 days apart!<br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Aug 17 2009 3:10 AM <br /><br />Punk rock! |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Aug 14 2009 9:15 PM <br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Jul 29 2009 8:59 PM <br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Jul 28 2009 9:13 PM <br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Jul 25 2009 2:41 AM <br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Jul 15 2009 9:22 PM <br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Jul 13 2009 9:19 PM <br /><br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Jul 9 2009 9:01 PM <br /><br />I want to go to this church!<br /> |- | align="center" bgcolor="#ff9933" style="word-wrap: break-word;" valign="top" width="150"|[http://www.myspace.com/alfrankenstein Negro Frankenstein Industries ]<br /><br />[http://www.myspace.com/alfrankenstein ] <br /><br /><br /> | align="left" bgcolor="#f9d6b4" class="columnsWidening" style="word-wrap: break-word;" valign="top" width="260"|Jul 3 2009 9:00 PM <br /><br /> |} |- | align="right"|[http://comment.myspace.com/index.cfm?fuseaction=user.viewProfile_commentForm&friendID=73175580 Add Comment] |} |} |} |} div#googleLogo_Footer { height: 24px ! important; }a .text { font-weight: bold; font-family: Arial,Helvetica,sans-serif; }{| border="0" cellpadding="0" cellspacing="0" width="100%" |- bgcolor="#e5e5e5" valign="top" | id="footerWarpper"| [http://faq.myspace.com/app/home Help] | [http://www.myspace.com/index.cfm?fuseaction=misc.terms Terms] | [http://www.myspace.com/index.cfm?fuseaction=misc.privacy Privacy Policy] | [http://www.myspace.com/index.cfm?fuseaction=cms.viewpage&placement=safety_pagehome Safety Tips] | [http://www.myspace.com/73175580# Block User] | 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All Rights Reserved. |} body, html { visibility: visible ! important; display: block ! important; } [[Category:publishers]] [[Category:distros]] [[Category:crappy comics]] dse602xor88mcv8hcehmcfac87kjl00 3906 3905 2010-09-23T05:12:50Z Spritzfellow 3082342 http://www.youtube.com/watch?v=pRNke1atrpQ&feature=player_embedded 3906 wikitext text/x-wiki Tim [[Category:publishers]] [[Category:distros]] [[Category:crappy comics]] ryl100lgz9dn9qdofzp4u2is0pr37ja 3907 3906 2010-09-23T05:13:53Z Spritzfellow 3082342 Atom Corona 3907 wikitext text/x-wiki Tim Goodyear Nerd burglar Turd Squirt Alert bird hurtler Bird Hurdler Third Murderer [[Churd Churdler]] [[Category:publishers]] [[Category:distros]] [[Category:crappy comics]] 2ylzf5qok2v9cx67a2njwz5vcxyh4fr 3929 3907 2010-09-23T05:44:27Z Spritzfellow 3082342 faustus, faster, fisto 3929 wikitext text/x-wiki Tim Goodyear aka Bobby Madness Tim Finds Pictures of old hobo(e)s online and tells people it's Bobby Madness Really, [[Bobby Madness]] is but one of Tim's 3 aliases. [[Tremblin Taco Choadsmoker]] Nerd burglar Turd Squirt Alert bird hurtler Bird Hurdler Third Murderer [[Churd Churdler]] [[Category:publishers]] [[Category:distros]] [[Category:crappy comics]] [[Category:jedi]] [[Category:poopsmiths]] [[Category:heads]] bal0xwgkus0xwl4qxkdu6j4wtc9vu1o 0 2037 3868 2010-09-23T05:00:12Z Spritzfellow 3082342 3868 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2081 3890 2010-09-23T05:01:39Z Spritzfellow 3082342 3890 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2051 3875 2010-09-23T05:00:28Z Spritzfellow 3082342 3875 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2071 3885 2010-09-23T05:01:29Z Spritzfellow 3082342 3885 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 3944 3885 2010-09-23T06:06:22Z Spritzfellow 3082342 3944 wikitext text/x-wiki [[File:Placeholder|right|300px]] PAUL KRASSNER WINNER OF THE SLOW BICYCLE RACE PRANKS REALISM belive axb4iu94c7yx55oje017uzlsekfm7eb 0 2095 3897 2010-09-23T05:01:50Z Spritzfellow 3082342 3897 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 3946 3897 2010-09-23T09:25:19Z Spritzfellow 3082342 no unnecessary 3946 wikitext text/x-wiki [[File:Placeholder|right|300px]] Thuban Presse! Sinfe the dawn of time thuban's excoriated press has been fashioning strindels of the greatest picture funny books. Hyppogriff Electronics, also private reserve. In fact, none of these things needed to have existed, this was their strength. ikmo8h970dc7gblpfc4s2u9bo44k2ix 3947 3946 2010-09-23T09:37:40Z Spritzfellow 3082342 http://is.gd/fowyl 3947 wikitext text/x-wiki [[File:Placeholder|right|300px]] Thuban Presse! Sinfe the dawn of time thuban's excoriated press has been fashioning strindels of the greatest picture funny books. Hyppogriff Electronics, also private reserve. In fact, none of these things needed to have existed, this was their strength. http://is.gd/fowyl i62zl17fuhqngcjx3cffmyfjn8mi9rx 3948 3947 2010-09-24T04:47:19Z 98.246.152.184 reality mgmt 3948 wikitext text/x-wiki *Stupid Tales of Wolverine *Third Murderer *Interrupt Us *How Life Became Unbearable (as thorazos.net) *Judas Don't Play That (with Danny and the Bs, Skelator and Soforth as the apostles) * [[File:Placeholder|right|300px]] Thuban Presse! Sinfe the dawn of time thuban's excoriated press has been fashioning strindels of the greatest picture funny books. Hyppogriff Electronics, also private reserve. In fact, none of these things needed to have existed, this was their strength. http://is.gd/fowyl ryxk3m0130gykyzlfpquh9tcwdji29t 0 2097 3898 2010-09-23T05:01:55Z Spritzfellow 3082342 3898 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2077 3888 2010-09-23T05:01:39Z Spritzfellow 3082342 3888 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2069 3884 2010-09-23T05:01:04Z Spritzfellow 3082342 3884 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 2067 3883 2010-09-23T05:01:04Z Spritzfellow 3082342 3883 wikitext text/x-wiki [[File:Placeholder|right|300px]] Write the text of your article here! knyiq5vpa1y0kgqlewb1b1t52le3olr 0 1461 3848 2010-09-23T04:52:12Z Default 49312 3848 wikitext text/x-wiki [[File:Placeholder|thumb|300px]] ===Welcome to New Wiki Name=== New wiki name is a collaborative website about your topic that anyone can edit! ==Replace this with the name of your topic== Write an introduction to your topic here, to explain to your readers what your topic is all about! ==Latest activity== <activityfeed/> [[Category:Browse]] prh2gsxshoj657wzaqgvfvml2bfe3q6 3849 3848 2010-09-23T04:52:13Z Default 49312 moved [[Main Page]] to [[Zine Library of Babel Wiki]]:&#32;SEO 3849 wikitext text/x-wiki [[File:Placeholder|thumb|300px]] ===Welcome to New Wiki Name=== New wiki name is a collaborative website about your topic that anyone can edit! ==Replace this with the name of your topic== Write an introduction to your topic here, to explain to your readers what your topic is all about! ==Latest activity== <activityfeed/> [[Category:Browse]] prh2gsxshoj657wzaqgvfvml2bfe3q6 3854 3849 2010-09-23T04:53:11Z Spritzfellow 3082342 3854 wikitext text/x-wiki [[File:Placeholder|thumb|300px]] ===Welcome to New Wiki Name=== The Zine Library of Babel is a collaborative website about Self-Published Magazines and Small Press People, Arts, Crafts, Tutorials and Culture that anyone can edit! ==Replace this with the name of your topic== Write an introduction to your topic here, to explain to your readers what your topic is all about! ==Latest activity== <activityfeed/> [[Category:Browse]] 7ljxgtpl47cir22n0wp6yropm3t32x0 3909 3854 2010-09-23T05:17:33Z Spritzfellow 3082342 /* Welcome to ZLOB */ 3909 wikitext text/x-wiki [[File:Placeholder|thumb|300px]] ===Welcome to the Jungle=== Chapter 1 It was four o'clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija's broad shoulders--it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortege at each side street for half a mile. This was unfortunate, for already there was a throng before the door. The music had started up, and half a block away you could hear the dull "broom, broom" of a cello, with the squeaking of two fiddles which vied with each other in intricate and altitudinous gymnastics. Seeing the throng, Marija abandoned precipitately the debate concerning the ancestors of her coachman, and, springing from the moving carriage, plunged in and proceeded to clear a way to the hall. Once within, she turned and began to push the other way, roaring, meantime, "Eik! Eik! Uzdaryk-duris!" in tones which made the orchestral uproar sound like fairy music. "Z. Graiczunas, Pasilinksminimams darzas. Vynas. Sznapsas. Wines and Liquors. Union Headquarters"--that was the way the signs ran. The reader, who perhaps has never held much converse in the language of far-off Lithuania, will be glad of the explanation that the place was the rear room of a saloon in that part of Chicago known as "back of the yards." This information is definite and suited to the matter of fact; but how pitifully inadequate it would have seemed to one who understood that it was also the supreme hour of ecstasy in the life of one of God's gentlest creatures, the scene of the wedding feast and the joy-transfiguration of little Ona Lukoszaite! She stood in the doorway, shepherded by Cousin Marija, breathless from pushing through the crowd, and in her happiness painful to look upon. There was a light of wonder in her eyes and her lids trembled, and her otherwise wan little face was flushed. She wore a muslin dress, conspicuously white, and a stiff little veil coming to her shoulders. There were five pink paper roses twisted in the veil, and eleven bright green rose leaves. There were new white cotton gloves upon her hands, and as she stood staring about her she twisted them together feverishly. It was almost too much for her--you could see the pain of too great emotion in her face, and all the tremor of her form. She was so young--not quite sixteen--and small for her age, a mere child; and she had just been married--and married to Jurgis,* (*Pronounced Yoorghis) of all men, to Jurgis Rudkus, he with the white flower in the buttonhole of his new black suit, he with the mighty shoulders and the giant hands. Ona was blue-eyed and fair, while Jurgis had great black eyes with beetling brows, and thick black hair that curled in waves about his ears--in short, they were one of those incongruous and impossible married couples with which Mother Nature so often wills to confound all prophets, before and after. Jurgis could take up a two-hundred-and-fifty-pound quarter of beef and carry it into a car without a stagger, or even a thought; and now he stood in a far corner, frightened as a hunted animal, and obliged to moisten his lips with his tongue each time before he could answer the congratulations of his friends. Gradually there was effected a separation between the spectators and the guests--a separation at least sufficiently complete for working purposes. There was no time during the festivities which ensued when there were not groups of onlookers in the doorways and the corners; and if any one of these onlookers came sufficiently close, or looked sufficiently hungry, a chair was offered him, and he was invited to the feast. It was one of the laws of the veselija that no one goes hungry; and, while a rule made in the forests of Lithuania is hard to apply in the stockyards district of Chicago, with its quarter of a million inhabitants, still they did their best, and the children who ran in from the street, and even the dogs, went out again happier. A charming informality was one of the characteristics of this celebration. The men wore their hats, or, if they wished, they took them off, and their coats with them; they ate when and where they pleased, and moved as often as they pleased. There were to be speeches and singing, but no one had to listen who did not care to; if he wished, meantime, to speak or sing himself, he was perfectly free. The resulting medley of sound distracted no one, save possibly alone the babies, of which there were present a number equal to the total possessed by all the guests invited. There was no other place for the babies to be, and so part of the preparations for the evening consisted of a collection of cribs and carriages in one corner. In these the babies slept, three or four together, or wakened together, as the case might be. Those who were still older, and could reach the tables, marched about munching contentedly at meat bones and bologna sausages. The room is about thirty feet square, with whitewashed walls, bare save for a calendar. a picture of a race horse, and a family tree in a gilded frame. To the right there is a door from the saloon, with a few loafers in the doorway, and in the corner beyond it a bar, with a presiding genius clad in soiled white, with waxed black mustaches and a carefully oiled curl plastered against one side of his forehead. In the opposite corner are two tables, filling a third of the room and laden with dishes and cold viands, which a few of the hungrier guests are already munching. At the head, where sits the bride, is a snow-white cake, with an Eiffel tower of constructed decoration, with sugar roses and two angels upon it, and a generous sprinkling of pink and green and yellow candies. Beyond opens a door into the kitchen, where there is a glimpse to be had of a range with much steam ascending from it, and many women, old and young, rushing hither and thither. In the corner to the left are the three musicians, upon a little platform, toiling heroically to make some impression upon the hubbub; also the babies, similarly occupied, and an open window whence the populace imbibes the sights and sounds and odors. Suddenly some of the steam begins to advance, and, peering through it, you discern Aunt Elizabeth, Ona's stepmother--Teta Elzbieta, as they call her--bearing aloft a great platter of stewed duck. Behind her is Kotrina, making her way cautiously, staggering beneath a similar burden; and half a minute later there appears old Grandmother Majauszkiene, with a big yellow bowl of smoking potatoes, nearly as big as herself. So, bit by bit, the feast takes form--there is a ham and a dish of sauerkraut, boiled rice, macaroni, bologna sausages, great piles of penny buns, bowls of milk, and foaming pitchers of beer. There is also, not six feet from your back, the bar, where you may order all you please and do not have to pay for it. "Eiksz! Graicziau!" screams Marija Berczynskas, and falls to work herself--for there is more upon the stove inside that will be spoiled if it be not eaten. So, with laughter and shouts and endless badinage and merriment, the guests take their places. The young men, who for the most part have been huddled near the door, summon their resolution and advance; and the shrinking Jurgis is poked and scolded by the old folks until he consents to seat himself at the right hand of the bride. The two bridesmaids, whose insignia of office are paper wreaths, come next, and after them the rest of the guests, old and young, boys and girls. The spirit of the occasion takes hold of the stately bartender, who condescends to a plate of stewed duck; even the fat policeman--whose duty it will be, later in the evening, to break up the fights--draws up a chair to the foot of the table. And the children shout and the babies yell, and every one laughs and sings and chatters--while above all the deafening clamor Cousin Marija shouts orders to the musicians. The musicians--how shall one begin to describe them? All this time they have been there, playing in a mad frenzy--all of this scene must be read, or said, or sung, to music. It is the music which makes it what it is; it is the music which changes the place from the rear room of a saloon in back of the yards to a fairy place, a wonderland, a little comer of the high mansions of the sky. The little person who leads this trio is an inspired man. His fiddle is out of tune, and there is no rosin on his bow, but still he is an inspired man--the hands of the muses have been laid upon him. He plays like one possessed by a demon, by a whole horde of demons. You can feel them in the air round about him, capering frenetically; with their invisible feet they set the pace, and the hair of the leader of the orchestra rises on end, and his eyeballs start from their sockets, as he toils to keep up with them. Tamoszius Kuszleika is his name, and he has taught himself to play the violin by practicing all night, after working all day on the "killing beds." He is in his shirt sleeves, with a vest figured with faded gold horseshoes, and a pink-striped shirt, suggestive of peppermint candy. A pair of military trousers, light blue with a yellow stripe, serve to give that suggestion of authority proper to the leader of a band. He is only about five feet high, but even so these trousers are about eight inches short of the ground. You wonder where he can have gotten them or rather you would wonder, if the excitement of being in his presence left you time to think of such things. For he is an inspired man. Every inch of him is inspired--you might almost say inspired separately. He stamps with his feet, he tosses his head, he sways and swings to and fro; he has a wizened-up little face, irresistibly comical; and, when he executes a turn or a flourish, his brows knit and his lips work and his eyelids wink--the very ends of his necktie bristle out. And every now and then he turns upon his companions, nodding, signaling, beckoning frantically--with every inch of him appealing, imploring, in behalf of the muses and their call. For they are hardly worthy of Tamoszius, the other two members of the orchestra. The second violin is a Slovak, a tall, gaunt man with black-rimmed spectacles and the mute and patient look of an overdriven mule; he responds to the whip but feebly, and then always falls back into his old rut. The third man is very fat, with a round, red, sentimental nose, and he plays with his eyes turned up to the sky and a look of infinite yearning. He is playing a bass part upon his cello, and so the excitement is nothing to him; no matter what happens in the treble, it is his task to saw out one long-drawn and lugubrious note after another, from four o'clock in the afternoon until nearly the same hour next morning, for his third of the total income of one dollar per hour. Before the feast has been five minutes under way, Tamoszius Kuszleika has risen in his excitement; a minute or two more and you see that he is beginning to edge over toward the tables. His nostrils are dilated and his breath comes fast--his demons are driving him. He nods and shakes his head at his companions, jerking at them with his violin, until at last the long form of the second violinist also rises up. In the end all three of them begin advancing, step by step, upon the banqueters, Valentinavyczia, he cellist, bumping along with his instrument between notes. Finally all three are gathered at the foot of the tables, and there Tamoszius mounts upon a stool. Now he is in his glory, dominating the scene. Some of the people are eating, some are laughing and talking--but you will make a great mistake if you think there is one of them who does not hear him. His notes are never true, and his fiddle buzzes on the low ones and squeaks and scratches on the high; but these things they heed no more than they heed the dirt and noise and squalor about them--it is out of this material that they have to build their lives, with it that they have to utter their souls. And this is their utterance; merry and boisterous, or mournful and wailing, or passionate and rebellious, this music is their music, music of home. It stretches out its arms to them, they have only to give themselves up. Chicago and its saloons and its slums fade away--there are green meadows and sunlit rivers, mighty forests and snowclad hills. They behold home landscapes and childhood scenes returning; old loves and friendships begin to waken, old joys and griefs to laugh and weep. Some fall back and close their eyes, some beat upon the table. Now and then one leaps up with a cry and calls for this song or that; and then the fire leaps brighter in Tamoszius' eyes, and he flings up his fiddle and shouts to his companions, and away they go in mad career. The company takes up the choruses, and men and women cry out like all possessed; some leap to their feet and stamp upon the floor, lifting their glasses and pledging each other. Before long it occurs to some one to demand an old wedding song, which celebrates the beauty of the bride and the joys of love. In the excitement of this masterpiece Tamoszius Kuszleika begins to edge in between the tables, making his way toward the head, where sits the bride. There is not a foot of space between the chairs of the guests, and Tamoszius is so short that he pokes them with his bow whenever he reaches over for the low notes; but still he presses in, and insists relentlessly that his companions must follow. During their progress, needless to say, the sounds of the cello are pretty well extinguished; but at last the three are at the head, and Tamoszius takes his station at the right hand of the bride and begins to pour out his soul in melting strains. Little Ona is too excited to eat. Once in a while she tastes a little something, when Cousin Marija pinches her elbow and reminds her; but, for the most part, she sits gazing with the same fearful eyes of wonder. Teta Elzbieta is all in a flutter, like a hummingbird; her sisters, too, keep running up behind her, whispering, breathless. But Ona seems scarcely to hear them--the music keeps calling, and the far-off look comes back, and she sits with her hands pressed together over her heart. Then the tears begin to come into her eyes; and as she is ashamed to wipe them away, and ashamed to let them run down her cheeks, she turns and shakes her head a little, and then flushes red when she sees that Jurgis is watching her. When in the end Tamoszius Kuszleika has reached her side, and is waving his magic wand above her, Ona's cheeks are scarlet, and she looks as if she would have to get up and run away. In this crisis, however, she is saved by Marija Berczynskas, whom the muses suddenly visit. Marija is fond of a song, a song of lovers' parting; she wishes to hear it, and, as the musicians do not know it, she has risen, and is proceeding to teach them. Marija is short, but powerful in build. She works in a canning factory, and all day long she handles cans of beef that weigh fourteen pounds. She has a broad Slavic face, with prominent red cheeks. When she opens her mouth, it is tragical, but you cannot help thinking of a horse. She wears a blue flannel shirt-waist, which is now rolled up at the sleeves, disclosing her brawny arms; she has a carving fork in her hand, with which she pounds on the table to mark the time. As she roars her song, in a voice of which it is enough to say that it leaves no portion of the room vacant, the three musicians follow her, laboriously and note by note, but averaging one note behind; thus they toil through stanza after stanza of a lovesick swain's lamentation:-- "Sudiev' kvietkeli, tu brangiausis;<br />Sudiev' ir laime, man biednam,<br />Matau--paskyre teip Aukszcziausis,<br />Jog vargt ant svieto reik vienam!" When the song is over, it is time for the speech, and old Dede Antanas rises to his feet. Grandfather Anthony, Jurgis' father, is not more than sixty years of age, but you would think that he was eighty. He has been only six months in America, and the change has not done him good. In his manhood he worked in a cotton mill, but then a coughing fell upon him, and he had to leave; out in the country the trouble disappeared, but he has been working in the pickle rooms at Durham's, and the breathing of the cold, damp air all day has brought it back. Now as he rises he is seized with a coughing fit, and holds himself by his chair and turns away his wan and battered face until it passes. Generally it is the custom for the speech at a veselija to be taken out of one of the books and learned by heart; but in his youthful days Dede Antanas used to be a scholar, and really make up all the love letters of his friends. Now it is understood that he has composed an original speech of congratulation and benediction, and this is one of the events of the day. Even the boys, who are romping about the room, draw near and listen, and some of the women sob and wipe their aprons in their eyes. It is very solemn, for Antanas Rudkus has become possessed of the idea that he has not much longer to stay with his children. His speech leaves them all so tearful that one of the guests, Jokubas Szedvilas, who keeps a delicatessen store on Halsted Street, and is fat and hearty, is moved to rise and say that things may not be as bad as that, and then to go on and make a little speech of his own, in which he showers congratulations and prophecies of happiness upon the bride and groom, proceeding to particulars which greatly delight the young men, but which cause Ona to blush more furiously than ever. Jokubas possesses what his wife complacently describes as "poetiszka vaidintuve"--a poetical imagination. Now a good many of the guests have finished, and, since there is no pretense of ceremony, the banquet begins to break up. Some of the men gather about the bar; some wander about, laughing and singing; here and there will be a little group, chanting merrily, and in sublime indifference to the others and to the orchestra as well. Everybody is more or less restless--one would guess that something is on their minds. And so it proves. The last tardy diners are scarcely given time to finish, before the tables and the debris are shoved into the corner, and the chairs and the babies piled out of the way, and the real celebration of the evening begins. Then Tamoszius Kuszleika, after replenishing himself with a pot of beer, returns to his platform, and, standing up, reviews the scene; he taps authoritatively upon the side of his violin, then tucks it carefully under his chin, then waves his bow in an elaborate flourish, and finally smites the sounding strings and closes his eyes, and floats away in spirit upon the wings of a dreamy waltz. His companion follows, but with his eyes open, watching where he treads, so to speak; and finally Valentinavyczia, after waiting for a little and beating with his foot to get the time, casts up his eyes to the ceiling and begins to saw--"Broom! broom! broom!" The company pairs off quickly, and the whole room is soon in motion. Apparently nobody knows how to waltz, but that is nothing of any consequence--there is music, and they dance, each as he pleases, just as before they sang. Most of them prefer the "two-step," especially the young, with whom it is the fashion. The older people have dances from home, strange and complicated steps which they execute with grave solemnity. Some do not dance anything at all, but simply hold each other's hands and allow the undisciplined joy of motion to express itself with their feet. Among these are Jokubas Szedvilas and his wife, Lucija, who together keep the delicatessen store, and consume nearly as much as they sell; they are too fat to dance, but they stand in the middle of the floor, holding each other fast in their arms, rocking slowly from side to side and grinning seraphically, a picture of toothless and perspiring ecstasy. Of these older people many wear clothing reminiscent in some detail of home--an embroidered waistcoat or stomacher, or a gaily colored handkerchief, or a coat with large cuffs and fancy buttons. All these things are carefully avoided by the young, most of whom have learned to speak English and to affect the latest style of clothing. The girls wear ready-made dresses or shirt waists, and some of them look quite pretty. Some of the young men you would take to be Americans, of the type of clerks, but for the fact that they wear their hats in the room. Each of these younger couples affects a style of its own in dancing. Some hold each other tightly, some at a cautious distance. Some hold their hands out stiffly, some drop them loosely at their sides. Some dance springily, some glide softly, some move with grave dignity. There are boisterous couples, who tear wildly about the room, knocking every one out of their way. There are nervous couples, whom these frighten, and who cry, "Nusfok! Kas yra?" at them as they pass. Each couple is paired for the evening--you will never see them change about. There is Alena Jasaityte, for instance, who has danced unending hours with Juozas Raczius, to whom she is engaged. Alena is the beauty of the evening, and she would be really beautiful if she were not so proud. She wears a white shirtwaist, which represents, perhaps, half a week's labor painting cans. She holds her skirt with her hand as she dances, with stately precision, after the manner of the grandes dames. Juozas is driving one of Durham's wagons, and is making big wages. He affects a "tough" aspect, wearing his hat on one side and keeping a cigarette in his mouth all the evening. Then there is Jadvyga Marcinkus, who is also beautiful, but humble. Jadvyga likewise paints cans, but then she has an invalid mother and three little sisters to support by it, and so she does not spend her wages for shirtwaists. Jadvyga is small and delicate, with jet-black eyes and hair, the latter twisted into a little knot and tied on the top of her head. She wears an old white dress which she has made herself and worn to parties for the past five years; it is high-waisted--almost under her arms, and not very becoming,--but that does not trouble Jadvyga, who is dancing with her Mikolas. She is small, while he is big and powerful; she nestles in his arms as if she would hide herself from view, and leans her head upon his shoulder. He in turn has clasped his arms tightly around her, as if he would carry her away; and so she dances, and will dance the entire evening, and would dance forever, in ecstasy of bliss. You would smile, perhaps, to see them--but you would not smile if you knew all the story. This is the fifth year, now, that Jadvyga has been engaged to Mikolas, and her heart is sick. They would have been married in the beginning, only Mikolas has a father who is drunk all day, and he is the only other man in a large family. Even so they might have managed it (for Mikolas is a skilled man) but for cruel accidents which have almost taken the heart out of them. He is a beef-boner, and that is a dangerous trade, especially when you are on piecework and trying to earn a bride. Your hands are slippery, and your knife is slippery, and you are toiling like mad, when somebody happens to speak to you, or you strike a bone. Then your hand slips up on the blade, and there is a fearful gash. And that would not be so bad, only for the deadly contagion. The cut may heal, but you never can tell. Twice now; within the last three years, Mikolas has been lying at home with blood poisoning--once for three months and once for nearly seven. The last time, too, he lost his job, and that meant six weeks more of standing at the doors of the packing houses, at six o'clock on bitter winter mornings, with a foot of snow on the ground and more in the air. There are learned people who can tell you out of the statistics that beef-boners make forty cents an hour, but, perhaps, these people have never looked into a beef-boner's hands. When Tamoszius and his companions stop for a rest, as perforce they must, now and then, the dancers halt where they are and wait patiently. They never seem to tire; and there is no place for them to sit down if they did. It is only for a minute, anyway, for the leader starts up again, in spite of all the protests of the other two. This time it is another sort of a dance, a Lithuanian dance. Those who prefer to, go on with the two-step, but the majority go through an intricate series of motions, resembling more fancy skating than a dance. The climax of it is a furious prestissimo, at which the couples seize hands and begin a mad whirling. This is quite irresistible, and every one in the room joins in, until the place becomes a maze of flying skirts and bodies quite dazzling to look upon. But the sight of sights at this moment is Tamoszius Kuszleika. The old fiddle squeaks and shrieks in protest, but Tamoszius has no mercy. The sweat starts out on his forehead, and he bends over like a cyclist on the last lap of a race. His body shakes and throbs like a runaway steam engine, and the ear cannot follow the flying showers of notes--there is a pale blue mist where you look to see his bowing arm. With a most wonderful rush he comes to the end of the tune, and flings up his hands and staggers back exhausted; and with a final shout of delight the dancers fly apart, reeling here and there, bringing up against the walls of the room. After this there is beer for every one, the musicians included, and the revelers take a long breath and prepare for the great event of the evening, which is the acziavimas. The acziavimas is a ceremony which, once begun, will continue for three or four hours, and it involves one uninterrupted dance. The guests form a great ring, locking hands, and, when the music starts up, begin to move around in a circle. In the center stands the bride, and, one by one, the men step into the enclosure and dance with her. Each dances for several minutes--as long as he pleases; it is a very merry proceeding, with laughter and singing, and when the guest has finished, he finds himself face to face with Teta Elzbieta, who holds the hat. Into it he drops a sum of money--a dollar, or perhaps five dollars, according to his power, and his estimate of the value of the privilege. The guests are expected to pay for this entertainment; if they be proper guests, they will see that there is a neat sum left over for the bride and bridegroom to start life upon. Most fearful they are to contemplate, the expenses of this entertainment. They will certainly be over two hundred dollars and maybe three hundred; and three hundred dollars is more than the year's income of many a person in this room. There are able-bodied men here who work from early morning until late at night, in ice-cold cellars with a quarter of an inch of water on the floor--men who for six or seven months in the year never see the sunlight from Sunday afternoon till the next Sunday morning-- and who cannot earn three hundred dollars in a year. There are little children here, scarce in their teens, who can hardly see the top of the work benches--whose parents have lied to get them their places--and who do not make the half of three hundred dollars a year, and perhaps not even the third of it. And then to spend such a sum, all in a single day of your life, at a wedding feast! (For obviously it is the same thing, whether you spend it at once for your own wedding, or in a long time, at the weddings of all your friends.) It is very imprudent, it is tragic--but, ah, it is so beautiful! Bit by bit these poor people have given up everything else; but to this they cling with all the power of their souls--they cannot give up the veselija! To do that would mean, not merely to be defeated, but to acknowledge defeat--and the difference between these two things is what keeps the world going. The veselija has come down to them from a far-off time; and the meaning of it was that one might dwell within the cave and gaze upon shadows, provided only that once in his lifetime he could break his chains, and feel his wings, and behold the sun; provided that once in his lifetime he might testify to the fact that life, with all its cares and its terrors, is no such great thing after all, but merely a bubble upon the surface of a river, a thing that one may toss about and play with as a juggler tosses his golden balls, a thing that one may quaff, like a goblet of rare red wine. Thus having known himself for the master of things, a man could go back to his toil and live upon the memory all his days. Endlessly the dancers swung round and round--when they were dizzy they swung the other way. Hour after hour this had continued--the darkness had fallen and the room was dim from the light of two smoky oil lamps. The musicians had spent all their fine frenzy by now, and played only one tune, wearily, ploddingly. There were twenty bars or so of it, and when they came to the end they began again. Once every ten minutes or so they would fail to begin again, but instead would sink back exhausted; a circumstance which invariably brought on a painful and terrifying scene, that made the fat policeman stir uneasily in his sleeping place behind the door. It was all Marija Berczynskas. Marija was one of those hungry souls who cling with desperation to the skirts of the retreating muse. All day long she had been in a state of wonderful exaltation; and now it was leaving-- and she would not let it go. Her soul cried out in the words of Faust, "Stay, thou art fair!" Whether it was by beer, or by shouting, or by music, or by motion, she meant that it should not go. And she would go back to the chase of it--and no sooner be fairly started than her chariot would be thrown off the track, so to speak, by the stupidity of those thrice accursed musicians. Each time, Marija would emit a howl and fly at them, shaking her fists in their faces, stamping upon the floor, purple and incoherent with rage. In vain the frightened Tamoszius would attempt to speak, to plead the limitations of the flesh; in vain would the puffing and breathless ponas Jokubas insist, in vain would Teta Elzbieta implore. "Szalin!" Marija would scream. "Palauk! isz kelio! What are you paid for, children of hell?" And so, in sheer terror, the orchestra would strike up again, and Marija would return to her place and take up her task. She bore all the burden of the festivities now. Ona was kept up by her excitement, but all of the women and most of the men were tired--the soul of Marija was alone unconquered. She drove on the dancers--what had once been the ring had now the shape of a pear, with Marija at the stem, pulling one way and pushing the other. shouting, stamping, singing, a very volcano of energy. Now and then some one coming in or out would leave the door open, and the night air was chill; Marija as she passed would stretch out her foot and kick the doorknob, and slam would go the door! Once this procedure was the cause of a calamity of which Sebastijonas Szedvilas was the hapless victim. Little Sebastijonas, aged three, had been wandering about oblivious to all things, holding turned up over his mouth a bottle of liquid known as "pop," pink-colored, ice-cold, and delicious. Passing through the doorway the door smote him full, and the shriek which followed brought the dancing to a halt. Marija, who threatened horrid murder a hundred times a day, and would weep over the injury of a fly, seized little Sebastijonas in her arms and bid fair to smother him with kisses. There was a long rest for the orchestra, and plenty of refreshments, while Marija was making her peace with her victim, seating him upon the bar, and standing beside him and holding to his lips a foaming schooner of beer. In the meantime there was going on in another corner of the room an anxious conference between Teta Elzbieta and Dede Antanas, and a few of the more intimate friends of the family. A trouble was come upon them. The veselija is a compact, a compact not expressed, but therefore only the more binding upon all. Every one's share was different--and yet every one knew perfectly well what his share was, and strove to give a little more. Now, however, since they had come to the new country, all this was changing; it seemed as if there must be some subtle poison in the air that one breathed here--it was affecting all the young men at once. They would come in crowds and fill themselves with a fine dinner, and then sneak off. One would throw another's hat out of the window, and both would go out to get it, and neither could be seen again. Or now and then half a dozen of them would get together and march out openly, staring at you, and making fun of you to your face. Still others, worse yet, would crowd about the bar, and at the expense of the host drink themselves sodden, paying not the least attention to any one, and leaving it to be thought that either they had danced with the bride already, or meant to later on. All these things were going on now, and the family was helpless with dismay. So long they had toiled, and such an outlay they had made! Ona stood by, her eyes wide with terror. Those frightful bills--how they had haunted her, each item gnawing at her soul all day and spoiling her rest at night. How often she had named them over one by one and figured on them as she went to work--fifteen dollars for the hall, twenty-two dollars and a quarter for the ducks, twelve dollars for the musicians, five dollars at the church, and a blessing of the Virgin besides--and so on without an end! Worst of all was the frightful bill that was still to come from Graiczunas for the beer and liquor that might be consumed. One could never get in advance more than a guess as to this from a saloonkeeper--and then, when the time came he always came to you scratching his head and saying that he had guessed too low, but that he had done his best--your guests had gotten so very drunk. By him you were sure to be cheated unmercifully, and that even though you thought yourself the dearest of the hundreds of friends he had. He would begin to serve your guests out of a keg that was half full, and finish with one that was half empty, and then you would be charged for two kegs of beer. He would agree to serve a certain quality at a certain price, and when the time came you and your friends would be drinking some horrible poison that could not be described. You might complain, but you would get nothing for your pains but a ruined evening; while, as for going to law about it, you might as well go to heaven at once. The saloonkeeper stood in with all the big politics men in the district; and when you had once found out what it meant to get into trouble with such people, you would know enough to pay what you were told to pay and shut up. What made all this the more painful was that it was so hard on the few that had really done their best. There was poor old ponas Jokubas, for instance--he had already given five dollars, and did not every one know that Jokubas Szedvilas had just mortgaged his delicatessen store for two hundred dollars to meet several months' overdue rent? And then there was withered old poni Aniele--who was a widow, and had three children, and the rheumatism besides, and did washing for the tradespeople on Halsted Street at prices it would break your heart to hear named. Aniele had given the entire profit of her chickens for several months. Eight of them she owned, and she kept them in a little place fenced around on her backstairs. All day long the children of Aniele were raking in the dump for food for these chickens; and sometimes, when the competition there was too fierce, you might see them on Halsted Street walking close to the gutters, and with their mother following to see that no one robbed them of their finds. Money could not tell the value of these chickens to old Mrs. Jukniene-- she valued them differently, for she had a feeling that she was getting something for nothing by means of them--that with them she was getting the better of a world that was getting the better of her in so many other ways. So she watched them every hour of the day, and had learned to see like an owl at night to watch them then. One of them had been stolen long ago, and not a month passed that some one did not try to steal another. As the frustrating of this one attempt involved a score of false alarms, it will be understood what a tribute old Mrs. Jukniene brought, just because Teta Elzbieta had once loaned her some money for a few days and saved her from being turned out of her house. More and more friends gathered round while the lamentation about these things was going on. Some drew nearer, hoping to overhear the conversation, who were themselves among the guilty--and surely that was a thing to try the patience of a saint. Finally there came Jurgis, urged by some one, and the story was retold to him. Jurgis listened in silence, with his great black eyebrows knitted. Now and then there would come a gleam underneath them and he would glance about the room. Perhaps he would have liked to go at some of those fellows with his big clenched fists; but then, doubtless, he realized how little good it would do him. No bill would be any less for turning out any one at this time; and then there would be the scandal--and Jurgis wanted nothing except to get away with Ona and to let the world go its own way. So his hands relaxed and he merely said quietly: "It is done, and there is no use in weeping, Teta Elzbieta." Then his look turned toward Ona, who stood close to his side, and he saw the wide look of terror in her eyes. "Little one," he said, in a low voice, "do not worry--it will not matter to us. We will pay them all somehow. I will work harder." That was always what Jurgis said. Ona had grown used to it as the solution of all difficulties--"I will work harder!" He had said that in Lithuania when one official had taken his passport from him, and another had arrested him for being without it, and the two had divided a third of his belongings. He had said it again in New York, when the smooth-spoken agent had taken them in hand and made them pay such high prices, and almost prevented their leaving his place, in spite of their paying. Now he said it a third time, and Ona drew a deep breath; it was so wonderful to have a husband, just like a grown woman--and a husband who could solve all problems, and who was so big and strong! The last sob of little Sebastijonas has been stifled, and the orchestra has once more been reminded of its duty. The ceremony begins again--but there are few now left to dance with, and so very soon the collection is over and promiscuous dances once more begin. It is now after midnight, however, and things are not as they were before. The dancers are dull and heavy--most of them have been drinking hard, and have long ago passed the stage of exhilaration. They dance in monotonous measure, round after round, hour after hour, with eyes fixed upon vacancy, as if they were only half conscious, in a constantly growing stupor. The men grasp the women very tightly, but there will be half an hour together when neither will see the other's face. Some couples do not care to dance, and have retired to the corners, where they sit with their arms enlaced. Others, who have been drinking still more, wander about the room, bumping into everything; some are in groups of two or three, singing, each group its own song. As time goes on there is a variety of drunkenness, among the younger men especially. Some stagger about in each other's arms, whispering maudlin words--others start quarrels upon the slightest pretext, and come to blows and have to be pulled apart. Now the fat policeman wakens definitely, and feels of his club to see that it is ready for business. He has to be prompt--for these two-o'clock-in-the-morning fights, if they once get out of hand, are like a forest fire, and may mean the whole reserves at the station. The thing to do is to crack every fighting head that you see, before there are so many fighting heads that you cannot crack any of them. There is but scant account kept of cracked heads in back of the yards, for men who have to crack the heads of animals all day seem to get into the habit, and to practice on their friends, and even on their families, between times. This makes it a cause for congratulation that by modern methods a very few men can do the painfully necessary work of head-cracking for the whole of the cultured world. There is no fight that night--perhaps because Jurgis, too, is watchful-- even more so than the policeman. Jurgis has drunk a great deal, as any one naturally would on an occasion when it all has to be paid for, whether it is drunk or not; but he is a very steady man, and does not easily lose his temper. Only once there is a tight shave--and that is the fault of Marija Berczynskas. Marija has apparently concluded about two hours ago that if the altar in the corner, with the deity in soiled white, be not the true home of the muses, it is, at any rate, the nearest substitute on earth attainable. And Marija is just fighting drunk when there come to her ears the facts about the villains who have not paid that night. Marija goes on the warpath straight off, without even the preliminary of a good cursing, and when she is pulled off it is with the coat collars of two villains in her hands. Fortunately, the policeman is disposed to be reasonable, and so it is not Marija who is flung out of the place. All this interrupts the music for not more than a minute or two. Then again the merciless tune begins--the tune that has been played for the last half-hour without one single change. It is an American tune this time, one which they have picked up on the streets; all seem to know the words of it--or, at any rate, the first line of it, which they hum to themselves, over and over again without rest: "In the good old summertime--in the good old summertime! In the good old summertime--in the good old summertime!" There seems to be something hypnotic about this, with its endlessly recurring dominant. It has put a stupor upon every one who hears it, as well as upon the men who are playing it. No one can get away from it, or even think of getting away from it; it is three o'clock in the morning, and they have danced out all their joy, and danced out all their strength, and all the strength that unlimited drink can lend them--and still there is no one among them who has the power to think of stopping. Promptly at seven o'clock this same Monday morning they will every one of them have to be in their places at Durham's or Brown's or Jones's, each in his working clothes. If one of them be a minute late, he will be docked an hour's pay, and if he be many minutes late, he will be apt to find his brass check turned to the wall, which will send him out to join the hungry mob that waits every morning at the gates of the packing houses, from six o'clock until nearly half-past eight. There is no exception to this rule, not even little Ona--who has asked for a holiday the day after her wedding day, a holiday without pay, and been refused. While there are so many who are anxious to work as you wish, there is no occasion for incommoding yourself with those who must work otherwise. Little Ona is nearly ready to faint--and half in a stupor herself, because of the heavy scent in the room. She has not taken a drop, but every one else there is literally burning alcohol, as the lamps are burning oil; some of the men who are sound asleep in their chairs or on the floor are reeking of it so that you cannot go near them. Now and then Jurgis gazes at her hungrily--he has long since forgotten his shyness; but then the crowd is there, and he still waits and watches the door, where a carriage is supposed to come. It does not, and finally he will wait no longer, but comes up to Ona, who turns white and trembles. He puts her shawl about her and then his own coat. They live only two blocks away, and Jurgis does not care about the carriage. There is almost no farewell--the dancers do not notice them, and all of the children and many of the old folks have fallen asleep of sheer exhaustion. Dede Antanas is asleep, and so are the Szedvilases, husband and wife, the former snoring in octaves. There is Teta Elzbieta, and Marija, sobbing loudly; and then there is only the silent night, with the stars beginning to pale a little in the east. Jurgis, without a word, lifts Ona in his arms, and strides out with her, and she sinks her head upon his shoulder with a moan. When he reaches home he is not sure whether she has fainted or is asleep, but when he has to hold her with one hand while he unlocks the door, he sees that she has opened her eyes. "You shall not go to Brown's today, little one," he whispers, as he climbs the stairs; and she catches his arm in terror, gasping: "No! No! I dare not! It will ruin us!" But he answers her again: "Leave it to me; leave it to me. I will earn more money--I will work harder." ==Replace this with the name of your topic== Write an introduction to your topic here, to explain to your readers what your topic is all about! ==Latest activity== <activityfeed/> [[Category:Browse]] ctqndjks3zh9kc9w1fudbpudy4bkevx 3915 3909 2010-09-23T05:27:42Z Spritzfellow 3082342 File added via image placeholder 3915 wikitext text/x-wiki [[File:Ricky rakoon.jpg|thumb|300px|right|Shawn Kristofferson]] ===Welcome to the Jungle=== Chapter 1 It was four o'clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija's broad shoulders--it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortege at each side street for half a mile. This was unfortunate, for already there was a throng before the door. The music had started up, and half a block away you could hear the dull "broom, broom" of a cello, with the squeaking of two fiddles which vied with each other in intricate and altitudinous gymnastics. Seeing the throng, Marija abandoned precipitately the debate concerning the ancestors of her coachman, and, springing from the moving carriage, plunged in and proceeded to clear a way to the hall. Once within, she turned and began to push the other way, roaring, meantime, "Eik! Eik! Uzdaryk-duris!" in tones which made the orchestral uproar sound like fairy music. "Z. Graiczunas, Pasilinksminimams darzas. Vynas. Sznapsas. Wines and Liquors. Union Headquarters"--that was the way the signs ran. The reader, who perhaps has never held much converse in the language of far-off Lithuania, will be glad of the explanation that the place was the rear room of a saloon in that part of Chicago known as "back of the yards." This information is definite and suited to the matter of fact; but how pitifully inadequate it would have seemed to one who understood that it was also the supreme hour of ecstasy in the life of one of God's gentlest creatures, the scene of the wedding feast and the joy-transfiguration of little Ona Lukoszaite! She stood in the doorway, shepherded by Cousin Marija, breathless from pushing through the crowd, and in her happiness painful to look upon. There was a light of wonder in her eyes and her lids trembled, and her otherwise wan little face was flushed. She wore a muslin dress, conspicuously white, and a stiff little veil coming to her shoulders. There were five pink paper roses twisted in the veil, and eleven bright green rose leaves. There were new white cotton gloves upon her hands, and as she stood staring about her she twisted them together feverishly. It was almost too much for her--you could see the pain of too great emotion in her face, and all the tremor of her form. She was so young--not quite sixteen--and small for her age, a mere child; and she had just been married--and married to Jurgis,* (*Pronounced Yoorghis) of all men, to Jurgis Rudkus, he with the white flower in the buttonhole of his new black suit, he with the mighty shoulders and the giant hands. Ona was blue-eyed and fair, while Jurgis had great black eyes with beetling brows, and thick black hair that curled in waves about his ears--in short, they were one of those incongruous and impossible married couples with which Mother Nature so often wills to confound all prophets, before and after. Jurgis could take up a two-hundred-and-fifty-pound quarter of beef and carry it into a car without a stagger, or even a thought; and now he stood in a far corner, frightened as a hunted animal, and obliged to moisten his lips with his tongue each time before he could answer the congratulations of his friends. Gradually there was effected a separation between the spectators and the guests--a separation at least sufficiently complete for working purposes. There was no time during the festivities which ensued when there were not groups of onlookers in the doorways and the corners; and if any one of these onlookers came sufficiently close, or looked sufficiently hungry, a chair was offered him, and he was invited to the feast. It was one of the laws of the veselija that no one goes hungry; and, while a rule made in the forests of Lithuania is hard to apply in the stockyards district of Chicago, with its quarter of a million inhabitants, still they did their best, and the children who ran in from the street, and even the dogs, went out again happier. A charming informality was one of the characteristics of this celebration. The men wore their hats, or, if they wished, they took them off, and their coats with them; they ate when and where they pleased, and moved as often as they pleased. There were to be speeches and singing, but no one had to listen who did not care to; if he wished, meantime, to speak or sing himself, he was perfectly free. The resulting medley of sound distracted no one, save possibly alone the babies, of which there were present a number equal to the total possessed by all the guests invited. There was no other place for the babies to be, and so part of the preparations for the evening consisted of a collection of cribs and carriages in one corner. In these the babies slept, three or four together, or wakened together, as the case might be. Those who were still older, and could reach the tables, marched about munching contentedly at meat bones and bologna sausages. The room is about thirty feet square, with whitewashed walls, bare save for a calendar. a picture of a race horse, and a family tree in a gilded frame. To the right there is a door from the saloon, with a few loafers in the doorway, and in the corner beyond it a bar, with a presiding genius clad in soiled white, with waxed black mustaches and a carefully oiled curl plastered against one side of his forehead. In the opposite corner are two tables, filling a third of the room and laden with dishes and cold viands, which a few of the hungrier guests are already munching. At the head, where sits the bride, is a snow-white cake, with an Eiffel tower of constructed decoration, with sugar roses and two angels upon it, and a generous sprinkling of pink and green and yellow candies. Beyond opens a door into the kitchen, where there is a glimpse to be had of a range with much steam ascending from it, and many women, old and young, rushing hither and thither. In the corner to the left are the three musicians, upon a little platform, toiling heroically to make some impression upon the hubbub; also the babies, similarly occupied, and an open window whence the populace imbibes the sights and sounds and odors. Suddenly some of the steam begins to advance, and, peering through it, you discern Aunt Elizabeth, Ona's stepmother--Teta Elzbieta, as they call her--bearing aloft a great platter of stewed duck. Behind her is Kotrina, making her way cautiously, staggering beneath a similar burden; and half a minute later there appears old Grandmother Majauszkiene, with a big yellow bowl of smoking potatoes, nearly as big as herself. So, bit by bit, the feast takes form--there is a ham and a dish of sauerkraut, boiled rice, macaroni, bologna sausages, great piles of penny buns, bowls of milk, and foaming pitchers of beer. There is also, not six feet from your back, the bar, where you may order all you please and do not have to pay for it. "Eiksz! Graicziau!" screams Marija Berczynskas, and falls to work herself--for there is more upon the stove inside that will be spoiled if it be not eaten. So, with laughter and shouts and endless badinage and merriment, the guests take their places. The young men, who for the most part have been huddled near the door, summon their resolution and advance; and the shrinking Jurgis is poked and scolded by the old folks until he consents to seat himself at the right hand of the bride. The two bridesmaids, whose insignia of office are paper wreaths, come next, and after them the rest of the guests, old and young, boys and girls. The spirit of the occasion takes hold of the stately bartender, who condescends to a plate of stewed duck; even the fat policeman--whose duty it will be, later in the evening, to break up the fights--draws up a chair to the foot of the table. And the children shout and the babies yell, and every one laughs and sings and chatters--while above all the deafening clamor Cousin Marija shouts orders to the musicians. The musicians--how shall one begin to describe them? All this time they have been there, playing in a mad frenzy--all of this scene must be read, or said, or sung, to music. It is the music which makes it what it is; it is the music which changes the place from the rear room of a saloon in back of the yards to a fairy place, a wonderland, a little comer of the high mansions of the sky. The little person who leads this trio is an inspired man. His fiddle is out of tune, and there is no rosin on his bow, but still he is an inspired man--the hands of the muses have been laid upon him. He plays like one possessed by a demon, by a whole horde of demons. You can feel them in the air round about him, capering frenetically; with their invisible feet they set the pace, and the hair of the leader of the orchestra rises on end, and his eyeballs start from their sockets, as he toils to keep up with them. Tamoszius Kuszleika is his name, and he has taught himself to play the violin by practicing all night, after working all day on the "killing beds." He is in his shirt sleeves, with a vest figured with faded gold horseshoes, and a pink-striped shirt, suggestive of peppermint candy. A pair of military trousers, light blue with a yellow stripe, serve to give that suggestion of authority proper to the leader of a band. He is only about five feet high, but even so these trousers are about eight inches short of the ground. You wonder where he can have gotten them or rather you would wonder, if the excitement of being in his presence left you time to think of such things. For he is an inspired man. Every inch of him is inspired--you might almost say inspired separately. He stamps with his feet, he tosses his head, he sways and swings to and fro; he has a wizened-up little face, irresistibly comical; and, when he executes a turn or a flourish, his brows knit and his lips work and his eyelids wink--the very ends of his necktie bristle out. And every now and then he turns upon his companions, nodding, signaling, beckoning frantically--with every inch of him appealing, imploring, in behalf of the muses and their call. For they are hardly worthy of Tamoszius, the other two members of the orchestra. The second violin is a Slovak, a tall, gaunt man with black-rimmed spectacles and the mute and patient look of an overdriven mule; he responds to the whip but feebly, and then always falls back into his old rut. The third man is very fat, with a round, red, sentimental nose, and he plays with his eyes turned up to the sky and a look of infinite yearning. He is playing a bass part upon his cello, and so the excitement is nothing to him; no matter what happens in the treble, it is his task to saw out one long-drawn and lugubrious note after another, from four o'clock in the afternoon until nearly the same hour next morning, for his third of the total income of one dollar per hour. Before the feast has been five minutes under way, Tamoszius Kuszleika has risen in his excitement; a minute or two more and you see that he is beginning to edge over toward the tables. His nostrils are dilated and his breath comes fast--his demons are driving him. He nods and shakes his head at his companions, jerking at them with his violin, until at last the long form of the second violinist also rises up. In the end all three of them begin advancing, step by step, upon the banqueters, Valentinavyczia, he cellist, bumping along with his instrument between notes. Finally all three are gathered at the foot of the tables, and there Tamoszius mounts upon a stool. Now he is in his glory, dominating the scene. Some of the people are eating, some are laughing and talking--but you will make a great mistake if you think there is one of them who does not hear him. His notes are never true, and his fiddle buzzes on the low ones and squeaks and scratches on the high; but these things they heed no more than they heed the dirt and noise and squalor about them--it is out of this material that they have to build their lives, with it that they have to utter their souls. And this is their utterance; merry and boisterous, or mournful and wailing, or passionate and rebellious, this music is their music, music of home. It stretches out its arms to them, they have only to give themselves up. Chicago and its saloons and its slums fade away--there are green meadows and sunlit rivers, mighty forests and snowclad hills. They behold home landscapes and childhood scenes returning; old loves and friendships begin to waken, old joys and griefs to laugh and weep. Some fall back and close their eyes, some beat upon the table. Now and then one leaps up with a cry and calls for this song or that; and then the fire leaps brighter in Tamoszius' eyes, and he flings up his fiddle and shouts to his companions, and away they go in mad career. The company takes up the choruses, and men and women cry out like all possessed; some leap to their feet and stamp upon the floor, lifting their glasses and pledging each other. Before long it occurs to some one to demand an old wedding song, which celebrates the beauty of the bride and the joys of love. In the excitement of this masterpiece Tamoszius Kuszleika begins to edge in between the tables, making his way toward the head, where sits the bride. There is not a foot of space between the chairs of the guests, and Tamoszius is so short that he pokes them with his bow whenever he reaches over for the low notes; but still he presses in, and insists relentlessly that his companions must follow. During their progress, needless to say, the sounds of the cello are pretty well extinguished; but at last the three are at the head, and Tamoszius takes his station at the right hand of the bride and begins to pour out his soul in melting strains. Little Ona is too excited to eat. Once in a while she tastes a little something, when Cousin Marija pinches her elbow and reminds her; but, for the most part, she sits gazing with the same fearful eyes of wonder. Teta Elzbieta is all in a flutter, like a hummingbird; her sisters, too, keep running up behind her, whispering, breathless. But Ona seems scarcely to hear them--the music keeps calling, and the far-off look comes back, and she sits with her hands pressed together over her heart. Then the tears begin to come into her eyes; and as she is ashamed to wipe them away, and ashamed to let them run down her cheeks, she turns and shakes her head a little, and then flushes red when she sees that Jurgis is watching her. When in the end Tamoszius Kuszleika has reached her side, and is waving his magic wand above her, Ona's cheeks are scarlet, and she looks as if she would have to get up and run away. In this crisis, however, she is saved by Marija Berczynskas, whom the muses suddenly visit. Marija is fond of a song, a song of lovers' parting; she wishes to hear it, and, as the musicians do not know it, she has risen, and is proceeding to teach them. Marija is short, but powerful in build. She works in a canning factory, and all day long she handles cans of beef that weigh fourteen pounds. She has a broad Slavic face, with prominent red cheeks. When she opens her mouth, it is tragical, but you cannot help thinking of a horse. She wears a blue flannel shirt-waist, which is now rolled up at the sleeves, disclosing her brawny arms; she has a carving fork in her hand, with which she pounds on the table to mark the time. As she roars her song, in a voice of which it is enough to say that it leaves no portion of the room vacant, the three musicians follow her, laboriously and note by note, but averaging one note behind; thus they toil through stanza after stanza of a lovesick swain's lamentation:-- "Sudiev' kvietkeli, tu brangiausis;<br />Sudiev' ir laime, man biednam,<br />Matau--paskyre teip Aukszcziausis,<br />Jog vargt ant svieto reik vienam!" When the song is over, it is time for the speech, and old Dede Antanas rises to his feet. Grandfather Anthony, Jurgis' father, is not more than sixty years of age, but you would think that he was eighty. He has been only six months in America, and the change has not done him good. In his manhood he worked in a cotton mill, but then a coughing fell upon him, and he had to leave; out in the country the trouble disappeared, but he has been working in the pickle rooms at Durham's, and the breathing of the cold, damp air all day has brought it back. Now as he rises he is seized with a coughing fit, and holds himself by his chair and turns away his wan and battered face until it passes. Generally it is the custom for the speech at a veselija to be taken out of one of the books and learned by heart; but in his youthful days Dede Antanas used to be a scholar, and really make up all the love letters of his friends. Now it is understood that he has composed an original speech of congratulation and benediction, and this is one of the events of the day. Even the boys, who are romping about the room, draw near and listen, and some of the women sob and wipe their aprons in their eyes. It is very solemn, for Antanas Rudkus has become possessed of the idea that he has not much longer to stay with his children. His speech leaves them all so tearful that one of the guests, Jokubas Szedvilas, who keeps a delicatessen store on Halsted Street, and is fat and hearty, is moved to rise and say that things may not be as bad as that, and then to go on and make a little speech of his own, in which he showers congratulations and prophecies of happiness upon the bride and groom, proceeding to particulars which greatly delight the young men, but which cause Ona to blush more furiously than ever. Jokubas possesses what his wife complacently describes as "poetiszka vaidintuve"--a poetical imagination. Now a good many of the guests have finished, and, since there is no pretense of ceremony, the banquet begins to break up. Some of the men gather about the bar; some wander about, laughing and singing; here and there will be a little group, chanting merrily, and in sublime indifference to the others and to the orchestra as well. Everybody is more or less restless--one would guess that something is on their minds. And so it proves. The last tardy diners are scarcely given time to finish, before the tables and the debris are shoved into the corner, and the chairs and the babies piled out of the way, and the real celebration of the evening begins. Then Tamoszius Kuszleika, after replenishing himself with a pot of beer, returns to his platform, and, standing up, reviews the scene; he taps authoritatively upon the side of his violin, then tucks it carefully under his chin, then waves his bow in an elaborate flourish, and finally smites the sounding strings and closes his eyes, and floats away in spirit upon the wings of a dreamy waltz. His companion follows, but with his eyes open, watching where he treads, so to speak; and finally Valentinavyczia, after waiting for a little and beating with his foot to get the time, casts up his eyes to the ceiling and begins to saw--"Broom! broom! broom!" The company pairs off quickly, and the whole room is soon in motion. Apparently nobody knows how to waltz, but that is nothing of any consequence--there is music, and they dance, each as he pleases, just as before they sang. Most of them prefer the "two-step," especially the young, with whom it is the fashion. The older people have dances from home, strange and complicated steps which they execute with grave solemnity. Some do not dance anything at all, but simply hold each other's hands and allow the undisciplined joy of motion to express itself with their feet. Among these are Jokubas Szedvilas and his wife, Lucija, who together keep the delicatessen store, and consume nearly as much as they sell; they are too fat to dance, but they stand in the middle of the floor, holding each other fast in their arms, rocking slowly from side to side and grinning seraphically, a picture of toothless and perspiring ecstasy. Of these older people many wear clothing reminiscent in some detail of home--an embroidered waistcoat or stomacher, or a gaily colored handkerchief, or a coat with large cuffs and fancy buttons. All these things are carefully avoided by the young, most of whom have learned to speak English and to affect the latest style of clothing. The girls wear ready-made dresses or shirt waists, and some of them look quite pretty. Some of the young men you would take to be Americans, of the type of clerks, but for the fact that they wear their hats in the room. Each of these younger couples affects a style of its own in dancing. Some hold each other tightly, some at a cautious distance. Some hold their hands out stiffly, some drop them loosely at their sides. Some dance springily, some glide softly, some move with grave dignity. There are boisterous couples, who tear wildly about the room, knocking every one out of their way. There are nervous couples, whom these frighten, and who cry, "Nusfok! Kas yra?" at them as they pass. Each couple is paired for the evening--you will never see them change about. There is Alena Jasaityte, for instance, who has danced unending hours with Juozas Raczius, to whom she is engaged. Alena is the beauty of the evening, and she would be really beautiful if she were not so proud. She wears a white shirtwaist, which represents, perhaps, half a week's labor painting cans. She holds her skirt with her hand as she dances, with stately precision, after the manner of the grandes dames. Juozas is driving one of Durham's wagons, and is making big wages. He affects a "tough" aspect, wearing his hat on one side and keeping a cigarette in his mouth all the evening. Then there is Jadvyga Marcinkus, who is also beautiful, but humble. Jadvyga likewise paints cans, but then she has an invalid mother and three little sisters to support by it, and so she does not spend her wages for shirtwaists. Jadvyga is small and delicate, with jet-black eyes and hair, the latter twisted into a little knot and tied on the top of her head. She wears an old white dress which she has made herself and worn to parties for the past five years; it is high-waisted--almost under her arms, and not very becoming,--but that does not trouble Jadvyga, who is dancing with her Mikolas. She is small, while he is big and powerful; she nestles in his arms as if she would hide herself from view, and leans her head upon his shoulder. He in turn has clasped his arms tightly around her, as if he would carry her away; and so she dances, and will dance the entire evening, and would dance forever, in ecstasy of bliss. You would smile, perhaps, to see them--but you would not smile if you knew all the story. This is the fifth year, now, that Jadvyga has been engaged to Mikolas, and her heart is sick. They would have been married in the beginning, only Mikolas has a father who is drunk all day, and he is the only other man in a large family. Even so they might have managed it (for Mikolas is a skilled man) but for cruel accidents which have almost taken the heart out of them. He is a beef-boner, and that is a dangerous trade, especially when you are on piecework and trying to earn a bride. Your hands are slippery, and your knife is slippery, and you are toiling like mad, when somebody happens to speak to you, or you strike a bone. Then your hand slips up on the blade, and there is a fearful gash. And that would not be so bad, only for the deadly contagion. The cut may heal, but you never can tell. Twice now; within the last three years, Mikolas has been lying at home with blood poisoning--once for three months and once for nearly seven. The last time, too, he lost his job, and that meant six weeks more of standing at the doors of the packing houses, at six o'clock on bitter winter mornings, with a foot of snow on the ground and more in the air. There are learned people who can tell you out of the statistics that beef-boners make forty cents an hour, but, perhaps, these people have never looked into a beef-boner's hands. When Tamoszius and his companions stop for a rest, as perforce they must, now and then, the dancers halt where they are and wait patiently. They never seem to tire; and there is no place for them to sit down if they did. It is only for a minute, anyway, for the leader starts up again, in spite of all the protests of the other two. This time it is another sort of a dance, a Lithuanian dance. Those who prefer to, go on with the two-step, but the majority go through an intricate series of motions, resembling more fancy skating than a dance. The climax of it is a furious prestissimo, at which the couples seize hands and begin a mad whirling. This is quite irresistible, and every one in the room joins in, until the place becomes a maze of flying skirts and bodies quite dazzling to look upon. But the sight of sights at this moment is Tamoszius Kuszleika. The old fiddle squeaks and shrieks in protest, but Tamoszius has no mercy. The sweat starts out on his forehead, and he bends over like a cyclist on the last lap of a race. His body shakes and throbs like a runaway steam engine, and the ear cannot follow the flying showers of notes--there is a pale blue mist where you look to see his bowing arm. With a most wonderful rush he comes to the end of the tune, and flings up his hands and staggers back exhausted; and with a final shout of delight the dancers fly apart, reeling here and there, bringing up against the walls of the room. After this there is beer for every one, the musicians included, and the revelers take a long breath and prepare for the great event of the evening, which is the acziavimas. The acziavimas is a ceremony which, once begun, will continue for three or four hours, and it involves one uninterrupted dance. The guests form a great ring, locking hands, and, when the music starts up, begin to move around in a circle. In the center stands the bride, and, one by one, the men step into the enclosure and dance with her. Each dances for several minutes--as long as he pleases; it is a very merry proceeding, with laughter and singing, and when the guest has finished, he finds himself face to face with Teta Elzbieta, who holds the hat. Into it he drops a sum of money--a dollar, or perhaps five dollars, according to his power, and his estimate of the value of the privilege. The guests are expected to pay for this entertainment; if they be proper guests, they will see that there is a neat sum left over for the bride and bridegroom to start life upon. Most fearful they are to contemplate, the expenses of this entertainment. They will certainly be over two hundred dollars and maybe three hundred; and three hundred dollars is more than the year's income of many a person in this room. There are able-bodied men here who work from early morning until late at night, in ice-cold cellars with a quarter of an inch of water on the floor--men who for six or seven months in the year never see the sunlight from Sunday afternoon till the next Sunday morning-- and who cannot earn three hundred dollars in a year. There are little children here, scarce in their teens, who can hardly see the top of the work benches--whose parents have lied to get them their places--and who do not make the half of three hundred dollars a year, and perhaps not even the third of it. And then to spend such a sum, all in a single day of your life, at a wedding feast! (For obviously it is the same thing, whether you spend it at once for your own wedding, or in a long time, at the weddings of all your friends.) It is very imprudent, it is tragic--but, ah, it is so beautiful! Bit by bit these poor people have given up everything else; but to this they cling with all the power of their souls--they cannot give up the veselija! To do that would mean, not merely to be defeated, but to acknowledge defeat--and the difference between these two things is what keeps the world going. The veselija has come down to them from a far-off time; and the meaning of it was that one might dwell within the cave and gaze upon shadows, provided only that once in his lifetime he could break his chains, and feel his wings, and behold the sun; provided that once in his lifetime he might testify to the fact that life, with all its cares and its terrors, is no such great thing after all, but merely a bubble upon the surface of a river, a thing that one may toss about and play with as a juggler tosses his golden balls, a thing that one may quaff, like a goblet of rare red wine. Thus having known himself for the master of things, a man could go back to his toil and live upon the memory all his days. Endlessly the dancers swung round and round--when they were dizzy they swung the other way. Hour after hour this had continued--the darkness had fallen and the room was dim from the light of two smoky oil lamps. The musicians had spent all their fine frenzy by now, and played only one tune, wearily, ploddingly. There were twenty bars or so of it, and when they came to the end they began again. Once every ten minutes or so they would fail to begin again, but instead would sink back exhausted; a circumstance which invariably brought on a painful and terrifying scene, that made the fat policeman stir uneasily in his sleeping place behind the door. It was all Marija Berczynskas. Marija was one of those hungry souls who cling with desperation to the skirts of the retreating muse. All day long she had been in a state of wonderful exaltation; and now it was leaving-- and she would not let it go. Her soul cried out in the words of Faust, "Stay, thou art fair!" Whether it was by beer, or by shouting, or by music, or by motion, she meant that it should not go. And she would go back to the chase of it--and no sooner be fairly started than her chariot would be thrown off the track, so to speak, by the stupidity of those thrice accursed musicians. Each time, Marija would emit a howl and fly at them, shaking her fists in their faces, stamping upon the floor, purple and incoherent with rage. In vain the frightened Tamoszius would attempt to speak, to plead the limitations of the flesh; in vain would the puffing and breathless ponas Jokubas insist, in vain would Teta Elzbieta implore. "Szalin!" Marija would scream. "Palauk! isz kelio! What are you paid for, children of hell?" And so, in sheer terror, the orchestra would strike up again, and Marija would return to her place and take up her task. She bore all the burden of the festivities now. Ona was kept up by her excitement, but all of the women and most of the men were tired--the soul of Marija was alone unconquered. She drove on the dancers--what had once been the ring had now the shape of a pear, with Marija at the stem, pulling one way and pushing the other. shouting, stamping, singing, a very volcano of energy. Now and then some one coming in or out would leave the door open, and the night air was chill; Marija as she passed would stretch out her foot and kick the doorknob, and slam would go the door! Once this procedure was the cause of a calamity of which Sebastijonas Szedvilas was the hapless victim. Little Sebastijonas, aged three, had been wandering about oblivious to all things, holding turned up over his mouth a bottle of liquid known as "pop," pink-colored, ice-cold, and delicious. Passing through the doorway the door smote him full, and the shriek which followed brought the dancing to a halt. Marija, who threatened horrid murder a hundred times a day, and would weep over the injury of a fly, seized little Sebastijonas in her arms and bid fair to smother him with kisses. There was a long rest for the orchestra, and plenty of refreshments, while Marija was making her peace with her victim, seating him upon the bar, and standing beside him and holding to his lips a foaming schooner of beer. In the meantime there was going on in another corner of the room an anxious conference between Teta Elzbieta and Dede Antanas, and a few of the more intimate friends of the family. A trouble was come upon them. The veselija is a compact, a compact not expressed, but therefore only the more binding upon all. Every one's share was different--and yet every one knew perfectly well what his share was, and strove to give a little more. Now, however, since they had come to the new country, all this was changing; it seemed as if there must be some subtle poison in the air that one breathed here--it was affecting all the young men at once. They would come in crowds and fill themselves with a fine dinner, and then sneak off. One would throw another's hat out of the window, and both would go out to get it, and neither could be seen again. Or now and then half a dozen of them would get together and march out openly, staring at you, and making fun of you to your face. Still others, worse yet, would crowd about the bar, and at the expense of the host drink themselves sodden, paying not the least attention to any one, and leaving it to be thought that either they had danced with the bride already, or meant to later on. All these things were going on now, and the family was helpless with dismay. So long they had toiled, and such an outlay they had made! Ona stood by, her eyes wide with terror. Those frightful bills--how they had haunted her, each item gnawing at her soul all day and spoiling her rest at night. How often she had named them over one by one and figured on them as she went to work--fifteen dollars for the hall, twenty-two dollars and a quarter for the ducks, twelve dollars for the musicians, five dollars at the church, and a blessing of the Virgin besides--and so on without an end! Worst of all was the frightful bill that was still to come from Graiczunas for the beer and liquor that might be consumed. One could never get in advance more than a guess as to this from a saloonkeeper--and then, when the time came he always came to you scratching his head and saying that he had guessed too low, but that he had done his best--your guests had gotten so very drunk. By him you were sure to be cheated unmercifully, and that even though you thought yourself the dearest of the hundreds of friends he had. He would begin to serve your guests out of a keg that was half full, and finish with one that was half empty, and then you would be charged for two kegs of beer. He would agree to serve a certain quality at a certain price, and when the time came you and your friends would be drinking some horrible poison that could not be described. You might complain, but you would get nothing for your pains but a ruined evening; while, as for going to law about it, you might as well go to heaven at once. The saloonkeeper stood in with all the big politics men in the district; and when you had once found out what it meant to get into trouble with such people, you would know enough to pay what you were told to pay and shut up. What made all this the more painful was that it was so hard on the few that had really done their best. There was poor old ponas Jokubas, for instance--he had already given five dollars, and did not every one know that Jokubas Szedvilas had just mortgaged his delicatessen store for two hundred dollars to meet several months' overdue rent? And then there was withered old poni Aniele--who was a widow, and had three children, and the rheumatism besides, and did washing for the tradespeople on Halsted Street at prices it would break your heart to hear named. Aniele had given the entire profit of her chickens for several months. Eight of them she owned, and she kept them in a little place fenced around on her backstairs. All day long the children of Aniele were raking in the dump for food for these chickens; and sometimes, when the competition there was too fierce, you might see them on Halsted Street walking close to the gutters, and with their mother following to see that no one robbed them of their finds. Money could not tell the value of these chickens to old Mrs. Jukniene-- she valued them differently, for she had a feeling that she was getting something for nothing by means of them--that with them she was getting the better of a world that was getting the better of her in so many other ways. So she watched them every hour of the day, and had learned to see like an owl at night to watch them then. One of them had been stolen long ago, and not a month passed that some one did not try to steal another. As the frustrating of this one attempt involved a score of false alarms, it will be understood what a tribute old Mrs. Jukniene brought, just because Teta Elzbieta had once loaned her some money for a few days and saved her from being turned out of her house. More and more friends gathered round while the lamentation about these things was going on. Some drew nearer, hoping to overhear the conversation, who were themselves among the guilty--and surely that was a thing to try the patience of a saint. Finally there came Jurgis, urged by some one, and the story was retold to him. Jurgis listened in silence, with his great black eyebrows knitted. Now and then there would come a gleam underneath them and he would glance about the room. Perhaps he would have liked to go at some of those fellows with his big clenched fists; but then, doubtless, he realized how little good it would do him. No bill would be any less for turning out any one at this time; and then there would be the scandal--and Jurgis wanted nothing except to get away with Ona and to let the world go its own way. So his hands relaxed and he merely said quietly: "It is done, and there is no use in weeping, Teta Elzbieta." Then his look turned toward Ona, who stood close to his side, and he saw the wide look of terror in her eyes. "Little one," he said, in a low voice, "do not worry--it will not matter to us. We will pay them all somehow. I will work harder." That was always what Jurgis said. Ona had grown used to it as the solution of all difficulties--"I will work harder!" He had said that in Lithuania when one official had taken his passport from him, and another had arrested him for being without it, and the two had divided a third of his belongings. He had said it again in New York, when the smooth-spoken agent had taken them in hand and made them pay such high prices, and almost prevented their leaving his place, in spite of their paying. Now he said it a third time, and Ona drew a deep breath; it was so wonderful to have a husband, just like a grown woman--and a husband who could solve all problems, and who was so big and strong! The last sob of little Sebastijonas has been stifled, and the orchestra has once more been reminded of its duty. The ceremony begins again--but there are few now left to dance with, and so very soon the collection is over and promiscuous dances once more begin. It is now after midnight, however, and things are not as they were before. The dancers are dull and heavy--most of them have been drinking hard, and have long ago passed the stage of exhilaration. They dance in monotonous measure, round after round, hour after hour, with eyes fixed upon vacancy, as if they were only half conscious, in a constantly growing stupor. The men grasp the women very tightly, but there will be half an hour together when neither will see the other's face. Some couples do not care to dance, and have retired to the corners, where they sit with their arms enlaced. Others, who have been drinking still more, wander about the room, bumping into everything; some are in groups of two or three, singing, each group its own song. As time goes on there is a variety of drunkenness, among the younger men especially. Some stagger about in each other's arms, whispering maudlin words--others start quarrels upon the slightest pretext, and come to blows and have to be pulled apart. Now the fat policeman wakens definitely, and feels of his club to see that it is ready for business. He has to be prompt--for these two-o'clock-in-the-morning fights, if they once get out of hand, are like a forest fire, and may mean the whole reserves at the station. The thing to do is to crack every fighting head that you see, before there are so many fighting heads that you cannot crack any of them. There is but scant account kept of cracked heads in back of the yards, for men who have to crack the heads of animals all day seem to get into the habit, and to practice on their friends, and even on their families, between times. This makes it a cause for congratulation that by modern methods a very few men can do the painfully necessary work of head-cracking for the whole of the cultured world. There is no fight that night--perhaps because Jurgis, too, is watchful-- even more so than the policeman. Jurgis has drunk a great deal, as any one naturally would on an occasion when it all has to be paid for, whether it is drunk or not; but he is a very steady man, and does not easily lose his temper. Only once there is a tight shave--and that is the fault of Marija Berczynskas. Marija has apparently concluded about two hours ago that if the altar in the corner, with the deity in soiled white, be not the true home of the muses, it is, at any rate, the nearest substitute on earth attainable. And Marija is just fighting drunk when there come to her ears the facts about the villains who have not paid that night. Marija goes on the warpath straight off, without even the preliminary of a good cursing, and when she is pulled off it is with the coat collars of two villains in her hands. Fortunately, the policeman is disposed to be reasonable, and so it is not Marija who is flung out of the place. All this interrupts the music for not more than a minute or two. Then again the merciless tune begins--the tune that has been played for the last half-hour without one single change. It is an American tune this time, one which they have picked up on the streets; all seem to know the words of it--or, at any rate, the first line of it, which they hum to themselves, over and over again without rest: "In the good old summertime--in the good old summertime! In the good old summertime--in the good old summertime!" There seems to be something hypnotic about this, with its endlessly recurring dominant. It has put a stupor upon every one who hears it, as well as upon the men who are playing it. No one can get away from it, or even think of getting away from it; it is three o'clock in the morning, and they have danced out all their joy, and danced out all their strength, and all the strength that unlimited drink can lend them--and still there is no one among them who has the power to think of stopping. Promptly at seven o'clock this same Monday morning they will every one of them have to be in their places at Durham's or Brown's or Jones's, each in his working clothes. If one of them be a minute late, he will be docked an hour's pay, and if he be many minutes late, he will be apt to find his brass check turned to the wall, which will send him out to join the hungry mob that waits every morning at the gates of the packing houses, from six o'clock until nearly half-past eight. There is no exception to this rule, not even little Ona--who has asked for a holiday the day after her wedding day, a holiday without pay, and been refused. While there are so many who are anxious to work as you wish, there is no occasion for incommoding yourself with those who must work otherwise. Little Ona is nearly ready to faint--and half in a stupor herself, because of the heavy scent in the room. She has not taken a drop, but every one else there is literally burning alcohol, as the lamps are burning oil; some of the men who are sound asleep in their chairs or on the floor are reeking of it so that you cannot go near them. Now and then Jurgis gazes at her hungrily--he has long since forgotten his shyness; but then the crowd is there, and he still waits and watches the door, where a carriage is supposed to come. It does not, and finally he will wait no longer, but comes up to Ona, who turns white and trembles. He puts her shawl about her and then his own coat. They live only two blocks away, and Jurgis does not care about the carriage. There is almost no farewell--the dancers do not notice them, and all of the children and many of the old folks have fallen asleep of sheer exhaustion. Dede Antanas is asleep, and so are the Szedvilases, husband and wife, the former snoring in octaves. There is Teta Elzbieta, and Marija, sobbing loudly; and then there is only the silent night, with the stars beginning to pale a little in the east. Jurgis, without a word, lifts Ona in his arms, and strides out with her, and she sinks her head upon his shoulder with a moan. When he reaches home he is not sure whether she has fainted or is asleep, but when he has to hold her with one hand while he unlocks the door, he sees that she has opened her eyes. "You shall not go to Brown's today, little one," he whispers, as he climbs the stairs; and she catches his arm in terror, gasping: "No! No! I dare not! It will ruin us!" But he answers her again: "Leave it to me; leave it to me. I will earn more money--I will work harder." ==Replace this with the name of your topic== Write an introduction to your topic here, to explain to your readers what your topic is all about! ==Latest activity== <activityfeed/> [[Category:Browse]] cw9lg8bupf2pfixsuxnj2y06apd5tev 3917 3915 2010-09-23T05:29:23Z Spritzfellow 3082342 librarian v. libertarian 3917 wikitext text/x-wiki [[File:Ricky rakoon.jpg|thumb|300px|right|Shawn Kristofferson]] ===Welcome to the Jungle=== Chapter 1 It was four o'clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija's broad shoulders--it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortege at each side street for half a mile. This was unfortunate, for already there was a throng before the door. The music had started up, and half a block away you could hear the dull "broom, broom" of a cello, with the squeaking of two fiddles which vied with each other in intricate and altitudinous gymnastics. Seeing the throng, Marija abandoned precipitately the debate concerning the ancestors of her coachman, and, springing from the moving carriage, plunged in and proceeded to clear a way to the hall. Once within, she turned and began to push the other way, roaring, meantime, "Eik! Eik! Uzdaryk-duris!" in tones which made the orchestral uproar sound like fairy music. "Z. Graiczunas, Pasilinksminimams darzas. Vynas. Sznapsas. Wines and Liquors. Union Headquarters"--that was the way the signs ran. The reader, who perhaps has never held much converse in the language of far-off Lithuania, will be glad of the explanation that the place was the rear room of a saloon in that part of Chicago known as "back of the yards." This information is definite and suited to the matter of fact; but how pitifully inadequate it would have seemed to one who understood that it was also the supreme hour of ecstasy in the life of one of God's gentlest creatures, the scene of the wedding feast and the joy-transfiguration of little Ona Lukoszaite! She stood in the doorway, shepherded by Cousin Marija, breathless from pushing through the crowd, and in her happiness painful to look upon. There was a light of wonder in her eyes and her lids trembled, and her otherwise wan little face was flushed. She wore a muslin dress, conspicuously white, and a stiff little veil coming to her shoulders. There were five pink paper roses twisted in the veil, and eleven bright green rose leaves. There were new white cotton gloves upon her hands, and as she stood staring about her she twisted them together feverishly. It was almost too much for her--you could see the pain of too great emotion in her face, and all the tremor of her form. She was so young--not quite sixteen--and small for her age, a mere child; and she had just been married--and married to Jurgis,* (*Pronounced Yoorghis) of all men, to Jurgis Rudkus, he with the white flower in the buttonhole of his new black suit, he with the mighty shoulders and the giant hands. Ona was blue-eyed and fair, while Jurgis had great black eyes with beetling brows, and thick black hair that curled in waves about his ears--in short, they were one of those incongruous and impossible married couples with which Mother Nature so often wills to confound all prophets, before and after. Jurgis could take up a two-hundred-and-fifty-pound quarter of beef and carry it into a car without a stagger, or even a thought; and now he stood in a far corner, frightened as a hunted animal, and obliged to moisten his lips with his tongue each time before he could answer the congratulations of his friends. Gradually there was effected a separation between the spectators and the guests--a separation at least sufficiently complete for working purposes. There was no time during the festivities which ensued when there were not groups of onlookers in the doorways and the corners; and if any one of these onlookers came sufficiently close, or looked sufficiently hungry, a chair was offered him, and he was invited to the feast. It was one of the laws of the veselija that no one goes hungry; and, while a rule made in the forests of Lithuania is hard to apply in the stockyards district of Chicago, with its quarter of a million inhabitants, still they did their best, and the children who ran in from the street, and even the dogs, went out again happier. A charming informality was one of the characteristics of this celebration. The men wore their hats, or, if they wished, they took them off, and their coats with them; they ate when and where they pleased, and moved as often as they pleased. There were to be speeches and singing, but no one had to listen who did not care to; if he wished, meantime, to speak or sing himself, he was perfectly free. The resulting medley of sound distracted no one, save possibly alone the babies, of which there were present a number equal to the total possessed by all the guests invited. There was no other place for the babies to be, and so part of the preparations for the evening consisted of a collection of cribs and carriages in one corner. In these the babies slept, three or four together, or wakened together, as the case might be. Those who were still older, and could reach the tables, marched about munching contentedly at meat bones and bologna sausages. [[secretvoice]] [[carolynmain]] [[Elijah Brubaker]] [[Spritzfellow in Space]] [[Category:Browse]] 6il2eth9ouefls3tmr31r0axpmne35m 3921 3917 2010-09-23T05:34:01Z Spritzfellow 3082342 /* Welcome to the Jungle */ kinoko powfox 3921 wikitext text/x-wiki [[File:Ricky rakoon.jpg|thumb|300px|right|Shawn Kristofferson]] ===Sam Withrow=== Chapter 1 It was four o'clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija's broad shoulders--it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortege at each side street for half a mile. This was unfortunate, for already there was a throng before the door. The music had started up, and half a block away you could hear the dull "broom, broom" of a cello, with the squeaking of two fiddles which vied with each other in intricate and altitudinous gymnastics. Seeing the throng, Marija abandoned precipitately the debate concerning the ancestors of her coachman, and, springing from the moving carriage, plunged in and proceeded to clear a way to the hall. Once within, she turned and began to push the other way, roaring, meantime, "Eik! Eik! Uzdaryk-duris!" in tones which made the orchestral uproar sound like fairy music. "Z. Graiczunas, Pasilinksminimams darzas. Vynas. Sznapsas. Wines and Liquors. Union Headquarters"--that was the way the signs ran. The reader, who perhaps has never held much converse in the language of far-off Lithuania, will be glad of the explanation that the place was the rear room of a saloon in that part of Chicago known as "back of the yards." This information is definite and suited to the matter of fact; but how pitifully inadequate it would have seemed to one who understood that it was also the supreme hour of ecstasy in the life of one of God's gentlest creatures, the scene of the wedding feast and the joy-transfiguration of little Ona Lukoszaite! She stood in the doorway, shepherded by Cousin Marija, breathless from pushing through the crowd, and in her happiness painful to look upon. There was a light of wonder in her eyes and her lids trembled, and her otherwise wan little face was flushed. She wore a muslin dress, conspicuously white, and a stiff little veil coming to her shoulders. There were five pink paper roses twisted in the veil, and eleven bright green rose leaves. There were new white cotton gloves upon her hands, and as she stood staring about her she twisted them together feverishly. It was almost too much for her--you could see the pain of too great emotion in her face, and all the tremor of her form. She was so young--not quite sixteen--and small for her age, a mere child; and she had just been married--and married to Jurgis,* (*Pronounced Yoorghis) of all men, to Jurgis Rudkus, he with the white flower in the buttonhole of his new black suit, he with the mighty shoulders and the giant hands. Ona was blue-eyed and fair, while Jurgis had great black eyes with beetling brows, and thick black hair that curled in waves about his ears--in short, they were one of those incongruous and impossible married couples with which Mother Nature so often wills to confound all prophets, before and after. Jurgis could take up a two-hundred-and-fifty-pound quarter of beef and carry it into a car without a stagger, or even a thought; and now he stood in a far corner, frightened as a hunted animal, and obliged to moisten his lips with his tongue each time before he could answer the congratulations of his friends. Gradually there was effected a separation between the spectators and the guests--a separation at least sufficiently complete for working purposes. There was no time during the festivities which ensued when there were not groups of onlookers in the doorways and the corners; and if any one of these onlookers came sufficiently close, or looked sufficiently hungry, a chair was offered him, and he was invited to the feast. It was one of the laws of the veselija that no one goes hungry; and, while a rule made in the forests of Lithuania is hard to apply in the stockyards district of Chicago, with its quarter of a million inhabitants, still they did their best, and the children who ran in from the street, and even the dogs, went out again happier. A charming informality was one of the characteristics of this celebration. The men wore their hats, or, if they wished, they took them off, and their coats with them; they ate when and where they pleased, and moved as often as they pleased. There were to be speeches and singing, but no one had to listen who did not care to; if he wished, meantime, to speak or sing himself, he was perfectly free. The resulting medley of sound distracted no one, save possibly alone the babies, of which there were present a number equal to the total possessed by all the guests invited. There was no other place for the babies to be, and so part of the preparations for the evening consisted of a collection of cribs and carriages in one corner. In these the babies slept, three or four together, or wakened together, as the case might be. Those who were still older, and could reach the tables, marched about munching contentedly at meat bones and bologna sausages. [[secretvoice]] [[carolynmain]] [[Elijah Brubaker]] [[Spritzfellow in Space]] [[Category:Browse]] sfqzzyz4icocnf9fr97l798o5r8z6pi 3922 3921 2010-09-23T05:35:05Z Spritzfellow 3082342 /* SCABT */ google voice 3922 wikitext text/x-wiki [[File:Ricky rakoon.jpg|thumb|300px|right|Shawn Kristofferson]] ===Shaun Kristylsen=== Chapter 1 It was four o'clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija's broad shoulders--it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortege at each side street for half a mile. Try explaining Google Voice to people on an empty stomach and two bottles of beer. [[secretvoice]] [[carolynmain]] [[Elijah Brubaker]] [[Spritzfellow in Space]] [[Category:Browse]] 1220zwr9rsoww1tlqfd22zb89sb9txy 3923 3922 2010-09-23T05:36:19Z Spritzfellow 3082342 Fancy footwork 3923 wikitext text/x-wiki [[File:Ricky rakoon.jpg|thumb|300px|right|Shawn Kristofferson]] ===Shaun Kristylsen (Gla=== Chapter 1 It was four o'clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of [[Amy S. Kuttab]]. The occasion rested heavily upon Marija's broad shoulders--it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortege at each side street for half a mile. Try explaining Google Voice to people on an empty stomach and two bottles of beer. [[Thither]] [[Gejius]] [[Tim Root]] [[Broderick IX]] [[Broderick M. W. Sirth-Weeks]] [[secretvoice]] [[carolynmain]] [[Elijah Brubaker]] [[Spritzfellow in Space]] [[Category:Browse]] 7688uhdcfw5kctj2tc9bcnyfcp86u2t 3933 3923 2010-09-23T05:49:59Z Spritzfellow 3082342 /* Shaun Kristylsen (Gla */ 3933 wikitext text/x-wiki [[File:Ricky rakoon.jpg|thumb|300px|right|Shawn Kristofferson]] ===Bobby Madness=== Chapter 1 It was four o'clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of [[Amy S. Kuttab]]. The occasion rested heavily upon Marija's broad shoulders--it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortege at each side street for half a mile. Try explaining Google Voice to people on an empty stomach and two bottles of beer. [http://www.facebook.com/profile.php?id=100000468342464&ref=mf ] ===[http://www.facebook.com/profile.php?id=100000468342464 T Edward Bak] I AM GOING TO BE IN THE NEW STAR TREK MOVIE!!!!=== [http://www.facebook.com/profile.php?id=100000468342464&v=wall&story_fbid=152166538150349&ref=mf 3 hours ago] via [http://www.facebook.com/mobile/?v=web Mobile Web] · Comment ·UnlikeLike·UnsubscribeSubscribe* *You like this. **[http://www.facebook.com/profile.php?id=100000385347906 ][http://www.facebook.com/profile.php?id=100000385347906 Dain Marx] shut up!3 hours ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000468342464 ][http://www.facebook.com/profile.php?id=100000468342464 T Edward Bak] Not really. I just felt like saying that.2 hours ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000385347906 ][http://www.facebook.com/profile.php?id=100000385347906 Dain Marx] man, i wanna be in the new Star trek movie!!!!2 hours ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000468342464 ][http://www.facebook.com/profile.php?id=100000468342464 T Edward Bak] DO IT! They could totally hire you as a Klingon!!2 hours ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000385347906 ][http://www.facebook.com/profile.php?id=100000385347906 Dain Marx] Are they hiring klingons? Can you get me in?2 hours ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000468342464 ][http://www.facebook.com/profile.php?id=100000468342464 T Edward Bak] We have to figure out some way to make this happen. Some kind of madcap caper. Lots of car chases and breaking into Hollywood movie offices and celebrity cameo and shit.2 hours ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000385347906 ][http://www.facebook.com/profile.php?id=100000385347906 Dain Marx] Count me in! You could make a good Romulan.2 hours ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000385347906 ][http://www.facebook.com/profile.php?id=100000385347906 Dain Marx] or a Riker double2 hours ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000468342464 ][http://www.facebook.com/profile.php?id=100000468342464 T Edward Bak] Oh shit I would like to be a Romulan. I wish I had more of a Vulcan thing going on. Whatever.2 hours ago · LikeUnlike **[http://www.facebook.com/edison.matos ][http://www.facebook.com/edison.matos Edison Matos] haha, the status update plus the first two comments = gold2 hours ago · LikeUnlike **[http://www.facebook.com/spritzfellow ][http://www.facebook.com/spritzfellow Hambone Sirth-Weeks] Rotf,lol2 hours ago · LikeUnlike **[http://www.facebook.com/spritzfellow ][http://www.facebook.com/spritzfellow Hambone Sirth-Weeks] Rotf,lol2 hours ago · LikeUnlike **[http://www.facebook.com/profile.php?id=648221450 ][http://www.facebook.com/profile.php?id=648221450 Debbie Campbell West] I always wanted to be the cleaning staff on the Starship Enterprise. Really - I could just be sweeping the bridge once in a while, and once a season I could save the ship by having a mop in exactly the right location. Maybe if they make any more shows.about an hour ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000385347906 ][http://www.facebook.com/profile.php?id=100000385347906 Dain Marx] the enterprise cleans itselfabout an hour ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000468342464 ][http://www.facebook.com/profile.php?id=100000468342464 T Edward Bak] No, they have empath housekeepers on board to make everything all Ferengi Shui.8 minutes ago · LikeUnlike *Write a comment... [[Thither]] [[Gejius]] [[Tim Root]] [[Broderick IX]] [[Broderick M. W. Sirth-Weeks]] [[secretvoice]] [[carolynmain]] [[Elijah Brubaker]] [[Spritzfellow in Space]] [[Category:Browse]] p9y7t72lfk3p3bqh58shrx4tzt0vhlr 3937 3933 2010-09-23T05:55:33Z Spritzfellow 3082342 3937 wikitext text/x-wiki [[File:Ricky rakoon.jpg|thumb|300px|right|Shawn Kristofferson]] ===Bobby Madness=== Chapter 1 It was four o'clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of [[Amy S. Kuttab]]. The occasion rested heavily upon Marija's broad shoulders--it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortege at each side street for half a mile. Try explaining Google Voice to people on an empty stomach and two bottles of beer. [[Julia Gfroerer]] [[Flesh and Bone]] [http://www.facebook.com/profile.php?id=100000468342464&ref=mf] ===[http://www.facebook.com/profile.php?id=100000468342464 T Edward Bak] I AM GOING TO BE IN THE NEW STAR TREK MOVIE!!!!=== [http://www.facebook.com/profile.php?id=100000468342464&v=wall&story_fbid=152166538150349&ref=mf 3 hours ago] via [http://www.facebook.com/mobile/?v=web Mobile Web] · Comment ·UnlikeLike·UnsubscribeSubscribe* *You like this. **[http://www.facebook.com/profile.php?id=100000385347906][http://www.facebook.com/profile.php?id=100000385347906 Dain Marx] shut up!3 hours ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000468342464][http://www.facebook.com/profile.php?id=100000468342464 T Edward Bak] Not really. I just felt like saying that.2 hours ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000385347906][http://www.facebook.com/profile.php?id=100000385347906 Dain Marx] man, i wanna be in the new Star trek movie!!!!2 hours ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000468342464][http://www.facebook.com/profile.php?id=100000468342464 T Edward Bak] DO IT! They could totally hire you as a Klingon!!2 hours ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000385347906][http://www.facebook.com/profile.php?id=100000385347906 Dain Marx] Are they hiring klingons? Can you get me in?2 hours ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000468342464][http://www.facebook.com/profile.php?id=100000468342464 T Edward Bak] We have to figure out some way to make this happen. Some kind of madcap caper. Lots of car chases and breaking into Hollywood movie offices and celebrity cameo and shit.2 hours ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000385347906][http://www.facebook.com/profile.php?id=100000385347906 Dain Marx] Count me in! You could make a good Romulan.2 hours ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000385347906][http://www.facebook.com/profile.php?id=100000385347906 Dain Marx] or a Riker double2 hours ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000468342464][http://www.facebook.com/profile.php?id=100000468342464 T Edward Bak] Oh shit I would like to be a Romulan. I wish I had more of a Vulcan thing going on. Whatever.2 hours ago · LikeUnlike **[http://www.facebook.com/edison.matos][http://www.facebook.com/edison.matos Edison Matos] haha, the status update plus the first two comments = gold2 hours ago · LikeUnlike **[http://www.facebook.com/spritzfellow][http://www.facebook.com/spritzfellow Hambone Sirth-Weeks] Rotf,lol2 hours ago · LikeUnlike **[http://www.facebook.com/spritzfellow][http://www.facebook.com/spritzfellow Hambone Sirth-Weeks] Rotf,lol2 hours ago · LikeUnlike **[http://www.facebook.com/profile.php?id=648221450][http://www.facebook.com/profile.php?id=648221450 Debbie Campbell West] I always wanted to be the cleaning staff on the Starship Enterprise. Really - I could just be sweeping the bridge once in a while, and once a season I could save the ship by having a mop in exactly the right location. Maybe if they make any more shows.about an hour ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000385347906][http://www.facebook.com/profile.php?id=100000385347906 Dain Marx] the enterprise cleans itselfabout an hour ago · LikeUnlike **[http://www.facebook.com/profile.php?id=100000468342464][http://www.facebook.com/profile.php?id=100000468342464 T Edward Bak] No, they have empath housekeepers on board to make everything all Ferengi Shui.8 minutes ago · LikeUnlike *Write a comment... [[Thither]] [[Gejius]] [[Tim Root]] [[Broderick IX]] [[Broderick M. W. Sirth-Weeks]] [[secretvoice]] [[carolynmain]] [[Elijah Brubaker]] [[Spritzfellow in Space]] [[Category:Browse]] 9yqcyj9xw1vmqsa415h0q0g2beug522 3945 3937 2010-09-23T09:21:15Z Spritzfellow 3082342 /* T Edward Bak I AM GOING TO BE IN THE NEW STAR TREK MOVIE!!!! */ 3945 wikitext text/x-wiki [[File:Ricky rakoon.jpg|thumb|300px|right|Shawn Kristofferson]] ===Bobby Madness=== Chapter 1 It was four o'clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of [[Amy S. Kuttab]]. The occasion rested heavily upon Marija's broad shoulders--it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortege at each side street for half a mile. Try explaining Google Voice to people on an empty stomach and two bottles of beer. [[Julia Gfroerer]] [[Flesh and Bone]] [http://www.facebook.com/profile.php?id=100000468342464&ref=mf] ===[http://www.facebook.com/profile.php?id=100000468342464 Tiberius Edward Bak] I AM GOING TO BE IN THE NEW STAR TREK MOVIE!!!!=== [[Category:Browse]] 0amx2p0uartiz9dc9juo6jybgxrbue0 3949 3945 2010-09-24T04:47:50Z 98.246.152.184 /* Bobby Madness */ 3949 wikitext text/x-wiki [[File:Ricky rakoon.jpg|thumb|300px|right|Shawn Kristofferson]] ===Bobby Madness=== aka Shawn Grantofferson Chapter 1 It was four o'clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of [[Amy S. Kuttab]]. The occasion rested heavily upon Marija's broad shoulders--it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortege at each side street for half a mile. Try explaining Google Voice to people on an empty stomach and two bottles of beer. [[Julia Gfroerer]] [[Flesh and Bone]] [http://www.facebook.com/profile.php?id=100000468342464&ref=mf] ===[http://www.facebook.com/profile.php?id=100000468342464 Tiberius Edward Bak] I AM GOING TO BE IN THE NEW STAR TREK MOVIE!!!!=== [[Category:Browse]] 2lpcx3bzvx4en3p5n4vy6xpvt6mcfna 3951 3949 2010-10-15T18:14:22Z Spritzfellow 3082342 /* Bobby Madness */ 3951 wikitext text/x-wiki [[File:Ricky rakoon.jpg|thumb|300px|right|Shawn Kristofferson]] ===Sean Christensen (Professor Awesome but True)=== aka Shawn Grantofferson Chapter 1 It was four o'clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of [[Amy S. Kuttab]]. The occasion rested heavily upon Marija's broad shoulders--it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortege at each side street for half a mile. Try explaining Google Voice to people on an empty stomach and two bottles of beer. [[Julia Gfroerer]] [[Flesh and Bone]] [http://www.facebook.com/profile.php?id=100000468342464&ref=mf] ===[http://www.facebook.com/profile.php?id=100000468342464 Tiberius Edward Bak] I AM GOING TO BE IN THE NEW STAR TREK MOVIE!!!!=== [[Category:Browse]] nqbpgii03qqeu5w1tssogcxtjh6u2y6 1 2124 3958 2011-12-15T05:08:26Z 97.120.243.229 Created page with "i fucking hate lyndon larouche.i don't start small fires either,unless they are in bong's.still that's some great writing!keep up the good work!(sheesh)" 3958 wikitext text/x-wiki i fucking hate lyndon larouche.i don't start small fires either,unless they are in bong's.still that's some great writing!keep up the good work!(sheesh) jq0egfcniotaidlr081o9eaqcrdxuf4 1 2113 3927 2010-09-23T05:41:11Z Spritzfellow 3082342 Created page with "Belief" 3927 wikitext text/x-wiki Belief il0tdmjfj8ihxssnwfnoa3ul635dat1 1 2118 3952 2010-10-15T18:15:01Z Spritzfellow 3082342 Created page with "[redacted] platypus" 3952 wikitext text/x-wiki [redacted] platypus ql8px9b9e0gnwoi0xhb94mbroun2f2f 1 2122 3956 2011-12-15T05:05:35Z 97.120.243.229 Created page with "the author is going to get knocked out by one of tim's aliases" 3956 wikitext text/x-wiki the author is going to get knocked out by one of tim's aliases 67jhdck08at6qjxshn790fg52554m7t 2 1297 3714 2010-09-23T04:52:12Z Default 49312 3714 wikitext text/x-wiki {{wikia:User:Angela}} 6jdaft9qjgxl1gl2qu6e1ja6ok6kqp2 2 1861 2927 2010-09-23T04:52:12Z Default 49312 2927 wikitext text/x-wiki {{w:User:Avatar}} 49t6bl2rahj9nuum2m37xrgu52ao2i8 2 1975 3811 2010-09-23T04:52:12Z Default 49312 3811 wikitext text/x-wiki The '''CreateWiki script''' sets up pages on newly [[w:special:createwiki|created wikis]]. For [[help:contents|help]], you can [[Special:Contact|contact Wikia]]. 5lc03nsu8f432u8tf169f79aeb5flzl 2 1745 2695 2010-09-23T04:52:12Z Default 49312 2695 wikitext text/x-wiki This account was used by '''[[Wikia:Wikia, Inc.|Wikia, Inc.]]''' to import the starter content to this wiki in an automated way (some templates, MediaWiki messages, and other essentials). * ''[[Special:Contributions/Default|Contributions]]'' 9e57efucz2nl5wo9w4ybttrwhd66k5j 2 1780 2827 2010-09-23T04:52:12Z Default 49312 2827 wikitext text/x-wiki The '''Delete page script''' account is used by Wikia Staff to make automated deletions across multiple pages or multiple wikis. If you feel the script deleted a page it should not have deleted, any [[special:listadmins|admin]] on this wiki can undelete that page. 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Leave me a message on [[User_talk:Jimbo Wales]] my user talk page. sljhreuyx2qb0cwniskr93xixyhk5gz 2 1890 3632 2010-09-23T04:52:12Z Default 49312 3632 wikitext text/x-wiki {{:w:User:Kirkburn/Who}} 7zrmkhq9gvf1e11uou3hupc2frglebv 2 1746 2698 2010-09-23T04:52:12Z Default 49312 2698 wikitext text/x-wiki This account is used by Wikia Staff when they run the maintenance script <code>rebuildMessages.php</code>. This updates or rebuilds the interface messages to be the same as the MediaWiki default on the Central Wikia wiki. This account is not a bot and cannot be blocked. 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Please edit this page to tell the community about yourself! ==My favorite pages== * Add links to your favorite pages on the wiki here! * Favorite page #2 * Favorite page #3 ci8rsb6benxy1y136l57pl69jbrcwrt 2 2120 3954 2011-07-25T22:15:15Z SVG 1984019 3954 wikitext text/x-wiki {{w:User:SVG}} avaqfgej3vl4ka7wgoqmjeucxo3ufl6 2 1523 3839 2010-09-23T04:52:12Z Default 49312 3839 wikitext text/x-wiki {{int:User Sannse}} h9syi7i95u21mam7mil611hpcgzdk59 2 2014 3820 2010-09-23T04:52:12Z Default 49312 3820 wikitext text/x-wiki {{Wikia:User:Sarah Manley}} 5bu5d0dcohf8ldzows9xhadso6js5up 2 1980 3668 2010-09-23T04:52:12Z Default 49312 3668 wikitext text/x-wiki {{w:scarecroewikis}} cfjxdmoebou6kdb5iiwa6vb903in36h 2 1979 3667 2010-09-23T04:52:12Z Default 49312 3667 wikitext text/x-wiki * Special:Search|Search cld3b1nv4rkm32x8wia2j69rbqualsp 2 1888 3047 2010-09-23T04:52:12Z Default 49312 3047 wikitext text/x-wiki {{w:dannywikis}} alsn8abpoq847lquzsoy75wr757wlc1 2 1887 3838 2010-09-23T04:52:12Z Default 49312 3838 wikitext text/x-wiki {{int:User Uberfuzzy}} ox97sracu715rvd5eikmyy68tqof6zd 2 1977 3686 2010-09-23T04:52:12Z Default 49312 3686 wikitext text/x-wiki {{int:User Wikia}} 523y32wlrciw94v7se887e8h7ugsauc 2 2013 3819 2010-09-23T04:52:12Z Default 49312 3819 wikitext text/x-wiki {{w:XeanWiki}} svge69clg76oc3m67mzql5uqieud87r 3 2125 3960 2012-01-22T15:23:05Z Wikia 22439 Welcome to Zine Library of Babel Wiki! 3960 wikitext text/x-wiki ==Welcome== Hi, welcome to Zine Library of Babel Wiki. Thanks for your edit to the [[:Category:T. edward bak]] page. '''[[Special:Userlogin|Please sign in and create a user name]]'''. It's an easy way to keep track of your contributions and helps you communicate with the rest of the community. If you need help, and there are no local admins here, you may want to visit the [[wikia:Forum:Community Central Forum|forums on the Community Central Wiki]]. You can also check our [[w:c:community:Blog:Wikia Staff Blog|Staff blog]] to keep up-to-date with the latest news and events around Wikia. Happy editing, [[User:Sarah Manley|Sarah Manley]]<staff /> <small>([[w:forums|help forum]] | [[w:sblog|blog]])</small> tfxjsar1ga4lhj9y1teizujksip3595 3 2123 3957 2011-12-15T05:06:04Z Wikia 22439 Welcome to Zine Library of Babel Wiki! 3957 wikitext text/x-wiki ==Welcome== Hi, welcome to Zine Library of Babel Wiki. Thanks for your edit to the [[:Teenage Dinosaur]] page. '''[[Special:Userlogin|Please sign in and create a user name]]'''. It's an easy way to keep track of your contributions and helps you communicate with the rest of the community. If you need help, and there are no local admins here, you may want to visit the [[wikia:Forum:Community Central Forum|forums on the Community Central Wiki]]. You can also check our [[w:c:community:Blog:Wikia Staff Blog|Staff blog]] to keep up-to-date with the latest news and events around Wikia. Happy editing, [[User:Sarah Manley|Sarah Manley]]<staff /> <small>([[w:forums|help forum]] | [[w:sblog|blog]])</small> lhe9no2i6o3zloujljm5gi29vpkevpz 3 2117 3950 2010-09-24T04:48:03Z Wikia 22439 welcoming new contributor 3950 wikitext text/x-wiki ==Welcome== Hi, welcome to Zine Library of Babel Wiki. Thanks for your edit to the '''Thuban Press''' page. '''[[Special:Userlogin|Please sign in and create a user name]]'''. It's an easy way to keep track of your contributions and helps you communicate with the rest of the community. Please leave a message on [[User talk:Spritzfellow|my talk page]] if I can help with anything! -- [[User:Spritzfellow|Spritzfellow]] ([[User_talk:Spritzfellow|Talk]]) 04:48, September 24, 2010 a6sqv6checuqqo5of4iec74g6okcu71 3 1696 2567 2010-09-23T04:52:12Z Default 49312 2567 wikitext text/x-wiki {{wikia:User talk:Angela}} 6pcs35pmcinsbupcyfpfccrwn9exsf5 3 1682 2449 2010-09-23T04:52:12Z Default 49312 2449 wikitext text/x-wiki :''Please leave messages for me at the end of this page'' jwmogq242qr31y4xmxvjn34rwxouzwt 3 2128 3963 2012-09-22T12:27:18Z Wikia 22439 Welcome to Zine Library of Babel Wiki! 3963 wikitext text/x-wiki ==Welcome== Hi, welcome to Zine Library of Babel Wiki! Thanks for your edit to the [[:Category:Pages with broken file links]] page. If you need help, and there are no local admins here, you may want to visit the [[wikia:Forum:Community Central Forum|forums on the Community Central Wiki]]. Looking for live help? Then join us for an upcoming [[w:c:community:Webinars|webinar]] to chat with staff and other Wikia editors. You can also check our [[w:c:community:Blog:Wikia_Staff_Blog|Staff blog]] to keep up-to-date with the latest news and events around Wikia. Happy editing, [[User:DaNASCAT|DaNASCAT]]<staff /> <small>([[w:forums|help forum]] | [[w:sblog|blog]])</small> nzliltv11qzhj2lc2m0kqtnmua03qzc 3 2121 3955 2011-07-26T20:05:52Z SVG 1984019 3955 wikitext text/x-wiki {{w:User talk:SVG}} 6x8cx9ddihnz4f0rag0bwrfz1iq02ui 3 2021 3852 2010-09-23T04:53:03Z Sarah Manley 1613840 Welcome Message 3852 wikitext text/x-wiki == Welcome! == <div style="font-size:120%; line-height:1.4em;">Congratulations on starting '''Zine Library of Babel Wiki'''! It's a brand new project, so it needs a lot of love. Here are five tips to make your wiki great. * '''It's all yours right now -- enjoy it!''' Once your wiki takes off, lots of people will read what you write. Right now, nobody's looking over your shoulder yet, so feel free to try things out and make mistakes. * '''Make lots of short pages!''' The hardest thing about writing is looking at a blank page and not knowing where to start. It's a lot easier once you write down your first couple sentences. So take a deep breath, and jump in -- make ten really short pages, one right after another. Once you've started, you can build the pages up slowly, adding a little bit at a time. * '''Link your pages together!''' Links help you and your readers get from one page to another, so whenever you mention the subject of another page, use the "Add a Link" button to make a link to that page. You should also use the front page to link to all of the most important pages on your wiki. Describe what your wiki is about on the main page, and include links to help your readers find their way around. * '''Add pictures!''' A well-chosen picture can make a bland wiki page come to life. When you're writing a page, use the "Add a Picture" button to upload a picture from your computer onto the page. * '''When you're ready -- tell your friends!''' Once you've started a bunch of pages, linked them together and added some pictures, you'll be ready to start showing off your wiki to the world. You probably know people who are interested in the same thing that you are, so tell your friends to check out your new site. Those are your first readers and potential contributors, so give them lots of encouragement. A good way to stay up-to-date with the latest news and events around Wikia is to visit our [[w:c:community:Blog:Wikia_Staff_Blog|Staff blog]]. If at any time you get stuck, feel free to write to us through our [[Special:Contact|contact form]] -- we're happy to help! Have fun! -- [[User:Sarah Manley|Sarah Manley]] <staff /></div> f7vf253oj3q1e8nub5jtpmj6jf4dmuk 3 1981 3673 2010-09-23T04:52:12Z Default 49312 3673 wikitext text/x-wiki Welcome to my talk page. If you have a problem with the content of this wiki, please try to contact [[Special:ListUsers/sysop|admins]] of this wiki first. If you require general assistance from Wikia Staff, please use [[Special:Contact]]. qy3unk3x8v9pfaicy7vdtckk4g01l4m 3 1978 3687 2010-09-23T04:52:12Z Default 49312 3687 wikitext text/x-wiki {{int:User Wikia}} 523y32wlrciw94v7se887e8h7ugsauc 4 1501 3813 2010-09-23T04:52:12Z Default 49312 3813 wikitext text/x-wiki ''This page is used to tell visitors all about {{SITENAME}}.'' ''Click the "edit this page" link (above) to start this page and to tell people what this wiki is all about.'' d7273ekthsbbt0kyztu820ms1r3h0on 4 1300 3797 2010-09-23T04:52:12Z Default 49312 3797 wikitext text/x-wiki Different users have access to different functions of the site. While anyone can do most things on the site, including reading and editing, '''administrators''' can access a few additional functions. == Administrator abilities == These additional functions include: * Deleting and undeleting pages, page histories, and uploaded files. * Locking ([[{{ns:project}}:Protected page|protecting]]) a page so it cannot be edited or renamed by users without admin rights or autoconfirmed status. * Blocking IP addresses or user names from editing; and very quick "rollback" of undesirable edits. * Editing the interface by changing system messages and skins. == Bureaucrat abilities == A '''bureaucrat''' can make other users into bureaucrats or administrators on their own wiki. Bureaucrats can also give users the ability to "rollback" edits not made in [[w:Assume good faith|good faith]]. == Staff == Wikia staff members have full access to all Wikia. They will be shown in [[Special:Listusers/staff]] on any wiki. Please use [[Special:Contact]] to contact Wikia staff. == Who are this wiki's administrators? == The "founder" of a wiki, the person who first requested it, is given administrator access automatically. Founders are also given bureaucrat access so they can make any other user on their wiki an administrator or bureaucrat. For a complete list of users with administrator access, see [[Special:Listusers/sysop]]. You may also wish to list them on this page. *[[User:Example]] == How do I use administrator powers? == See [[Help:Administrators' how-to guide]] for a guide on using admin functions. == Becoming an administrator == For you to become an administrator, someone with bureaucrat access must make you one. On larger Wikia, there will usually be a community page for requests, with a page name such as "[[{{ns:project}}:Requests for adminship]]". On a smaller wiki, you may simply ask on the community portal or [[Forum:Index|Forum]], or ask a bureaucrat directly on his or her talk page. If there are no active bureaucrats, use the "Requests for adminship" page to nominate users to become admins or bureaucrats. Once a community decision has been reached (or if there is no active community to debate the decision), please leave a message at the [[Wikia:Wikia:Adoption requests|wiki adoption requests page]] and Wikia Staff can provide the rights. == What can administrators not do? == Administrators should not use their administrator powers to settle editing disputes; for example, to lock a page on a version he or she prefers in an editing dispute that isn't vandalism. Administrator powers should be used to help keep the wiki clear of vandalism, spam, and users who make malicious edits, but not for simple disagreements between users acting in [[w:Assume good faith|good faith]]. Ideally an admin shouldn't be considered "in charge". The ideal admin is just someone who is trusted to have a few extra buttons and to use them for the benefit of the Wikia community. [[Category:Site administration|{{PAGENAME}}]] a7q4bqy0o944zwusve0q165yy7g5grt 4 1859 2920 2010-09-23T04:52:12Z Default 49312 2920 wikitext text/x-wiki #Redirect [[Project:Administrators]] n659sk3je61nzsjykj3o3jt0kyn04v4 4 1882 3067 2010-09-23T04:52:12Z Default 49312 3067 wikitext text/x-wiki There are a few, limited, cases where pages may be '''[[Help:Deletion|deleted]] speedily'''. Non-admins can ask for an [[Help:User access levels|admin]] to delete such a page simply by adding a [[Template:Speedydelete|<nowiki>{{speedydelete}}</nowiki>]] tag. A list of pages to be deleted can be found at [[:Category:Candidates for speedy deletion]]. When deleting, check the [[Help:Page history|page history]] first to see if you can [[Help:Reverting|revert]] to an older version instead of deleting the entire page. You can consider turning problematic pages into relevant redirects as an alternative to deletion. Ideally, when an admin deletes a test page or other page with no useful content, it is a good idea to put a note on the author's talk page explaining things, and preserving the deleted content, pointing them to the [[Project:Sandbox|sandbox]] in cases of tests. ==Examples of candidates for speedy deletion== # No meaningful content or history (''e.g.'' random characters). # Test pages (''e.g.'', "Can I really create a page here?"). # Pure [[Help:Vandalism|vandalism]] (see also [[Wikipedia:Wikipedia:Dealing with vandalism|dealing with vandalism]]). # Very short pages with little or no context (''e.g.'', "He is a funny man that has created Factory and the Hacienda. And, by the way, his wife is great.") # Reposted content that was already deleted according to policy. # Pages that have been moved to another Wikia because they were uploaded in the wrong place. # Temporarily deleting a page in order to [[Help:Moving pages|move a page]]. # Broken redirects or ones caused by typos during a page move. # Duplicate images. # Talk pages of already deleted articles. # User talk pages of non-logged in users where the message is no longer relevant. (This is to avoid confusing new users who happen to edit with that same IP address.) #Empty categories. #User and talk pages on request of the user, where there is no significant abuse, and no administrative need to retain the page. [[Category:Community|Candidates for speedy deletion]] 91yv60onid4r2yua2scx5oh8c24ljby 4 1526 3837 2010-09-23T04:52:12Z Default 49312 3837 wikitext text/x-wiki '''Welcome to {{SITENAME}}!''' The Community Portal is where this wiki community comes together to organize and discuss projects for the wiki. To see the most recent discussions, click the '''Discussion''' tab above. You can find out more general information about the wiki on the [[Project:About|About]] page. ==New to wikis?== * If you are new to wikis, you may want to read the '''[[Help:Tutorial 1|tutorial]]'''. * There is some advice on getting this wiki started at '''[[Help:Starting this wiki]]'''. * A list of most help pages can be found on '''[[Help:Contents]]''' and in '''[[:Category:Help]]'''. ==How to help out== * If you want to help but you're not sure where to start, try improving the various '''[[:Category:Article stubs|stub]]''' articles by adding content. * Another helpful activity would be to check the list of '''[[Special:WantedPages|wanted pages]]''' for frequently linked-to articles that don't exist yet. * To follow the changes to this wiki, and to look out for new users and edits use '''[[Special:RecentChanges|recent changes]]'''. * You can find a list of useful templates on '''[[:Category:Templates]]''', some of which are documented on '''[[{{ns:project}}:Templates]]'''. * If you need help editing, you could start with '''[[Help:Editing]]''' or '''[[Help:Tutorial 1|the tutorial]]'''. ==Want to discuss stuff?== * If you want to discuss anything specific to an article, you can use '''[[Help:Talk page|the talk page]]''' for that article. * For more general discussions you can use the Discussion tab of this page, or a Forum if the forums have been set up. ==Things to do== {{col-begin}} {{col-2}} ; Useful activities * Help expand some '''[[:Category:Article stubs|article stubs]]'''. * '''[[Special:ShortPages|Locate]]''' and '''[[Template:Stub|mark]]''' pages that need expanding as [[:Category:Article stubs|article stubs]]. * Create links to some '''[[Special:LonelyPages|orphaned pages]]'''. * Upload and add some images! Visit '''[[Special:Upload]]'''. Add them to a category too, like <nowiki>[[</nowiki>[[:Category:Images]]<nowiki>]]</nowiki>. * Write a new article that's on '''[[Special:WantedPages|the wanted list]]'''! * Fix any '''[[Special:DoubleRedirects|double redirects]]''' by redirecting the first page to the third page. * Check for '''[[Special:BrokenRedirects|broken redirects]]''' and either mark them for deletion or find a more appropriate target. * Consider splitting up very '''[[Special:LongPages|long pages]]''' into different pages or subpages. * Create some links on '''[[Special:DeadendPages|dead end pages]]'''. * ''Add more...'' {{col-2}} ; Other useful special pages *[[Special:BrokenRedirects]] *[[Special:DoubleRedirects]] *[[Special:ProblemReports]] *[[Special:UncategorizedCategories]] *[[Special:UncategorizedImages]] *[[Special:UncategorizedPages]] *[[Special:UnusedImages]] *[[Special:WantedCategories]] *'''Check out the full list of special pages at [[Special:SpecialPages]].''' {{col-end}} ==Some other interesting pages== * Want to find out what you've done so far? Visit [[Special:Mycontributions|your contributions page]]. * Find out more about the wiki on '''[[Special:WikiaStats]]''', '''[[Special:Statistics]]''' and '''[[Special:Version]]'''! [[Category:Help|Community Portal]] [[Category:Community| ]] 66upl0o3rmy616e0s02xbecd8oflh5p 4 1452 3728 2010-09-23T04:52:12Z Default 49312 3728 wikitext text/x-wiki Except where otherwise specified, the text on Wikia sites is licensed under the Creative Commons Attribution-Share Alike License 3.0 (Unported) (CC-BY-SA). * [http://creativecommons.org/licenses/by-sa/3.0/ Read the license summary] * [http://creativecommons.org/licenses/by-sa/3.0/legalcode Read the full legal code of the license]. Please see [[w:Wikia:Licensing|Wikia:Licensing]] for details. 184h6kou71fwrz3b41tx9pa3zf3a3b1 4 1516 3688 2010-09-23T04:52:12Z Default 49312 3688 wikitext text/x-wiki There are very few '''policies''' which apply across all Wikia. These can be found on the Central Wikia at [[Wikia:Category:Policy]]. Other policies for this Wikia should be decided by the wiki community. It's generally best to keep policies as simple as possible, and not to introduce too many rules. A growing wiki can usually do well with a few simple policies and a lot of goodwill and cooperation. Adding <code><nowiki>[[Category:Policy]]</nowiki></code> to any policy pages will add them to the policy category. This is found [[:Category:Policy|here]]. [[Category:Policy|*]] b059e8lq2v920jq830cx9t22yam2mtf 4 1871 3812 2010-09-23T04:52:12Z Default 49312 3812 wikitext text/x-wiki ''Please see Central Wikia [[w:Wikia:Privacy Policy|Privacy Policy]].'' [[Category:Policy|Privacy policy]] [[Category:Community|Privacy policy]] [[Category:Site administration|Privacy policy]] 9ylr0k7d4ba7t152zr09cmepugjmrii 4 1298 3081 2010-09-23T04:52:12Z Default 49312 3081 wikitext text/x-wiki [[Project:Administrators|Administrators]] can '''protect''' and '''unprotect''' pages, including ones that do not exist. Protection of a page or image usually means that a non-admin cannot modify it. The majority of pages on all Wikia should remain publicly editable, and '''not protected'''. Pages may, however, be temporarily or permanently protected for legal reasons (for example, license texts should not be changed) or in cases of extreme vandalism or edit warring or abusive re-creation. ==Uses== *Protecting highly vandalised pages, such as the [[Main Page]] on large wikis. *Maintaining the integrity of the site's logo and favicon. *Maintaining the integrity of key [[Project:copyrights|copyright]] and license pages. *Preventing repeatedly created vandal or spam pages from creation. See [[Special:Protectedtitles]] *Protecting the interface and system messages in the MediaWiki namespace (these are protected automatically) A '''temporary''' protection is used for: *Enforcing a "cool down" period to stop an "edit war", upon request. *Protecting a page or image that has been a recent target of ''persistent'' vandalism or ''persistent'' edits by a banned user. There is no need to protect personal .css and .js pages like user/monobook.css or user/cologneblue.js. Only the accounts associated with these pages (and admins) are able to edit them. (For more information on using these pages, see [[Help:User style]]) == Usage == Most pages and images are unprotected by default, only the site logo and favicons are automatically protected. You can protect editing, moving, or both by checking or unchecking the '''Unlock move permissions selection box'''. *'''(default)''' means any user, whether logged in or anonymous, can edit or move the page. *'''Block unregistered users''', or semi-protected, means anonymous users and new accounts less than 4 days old cannot edit and/or move pages. *'''Sysops only''', or fully-protected, means only administrators may edit and/or move the page. Pages can also be cascade protected, this will cause all images, pages, or templates transcluded onto the page to be fully protected, even if the main article is only semi-protected. ==Rules== #Do not make the common mistake of protecting pages unnecessarily. For example, do not protect a page simply because it is the Main Page. #Do not [[Help:Editing|edit]] a temporarily protected page except to add a notice explaining the page is protected. #Do not protect a page you are involved in an edit dispute over. Admin powers are not editor privileges - admins should only act as servants to the user community at large. #Avoid favoring one version of the article over another, unless one version is vandalism. #Temporarily protected pages should not be left protected for very long. #Talk pages and user talk pages are not protected except in extreme circumstances. #The protection of a page on any particular version is not meant to express support for that version and requests should therefore not be made that the protected version be reverted to a different one. [[Category:Site administration|{{PAGENAME}}]] ora2phmdai9b35hosiqwdz4xuyugxro 4 1518 3020 2010-09-23T04:52:12Z Default 49312 3020 wikitext text/x-wiki {{sandbox}} <!--COMMENT Please do not make any changes above this line. Feel free to make any changes below. This is the sandbox where you can play and try out wiki editing safely. --> This page is for any tests. Welcome to the sandbox! Anyone can edit this. ==Simple Editing== To edit a page, click on the "edit" tab, usually near the top of the page. Then, edit the box in the page. Feel free to practice here, on this page. It's here just for you to practice. A blank line indicates a paragraph separation. You can link to another page by putting the name or title of that page in double square brackets. <nowiki>[[Main Page]]</nowiki> becomes [[Main Page]]. ==Simple Formatting== Create headers by putting text inbetween repeated equal (=) signs. The more =, the lower level the heading is. Create a bulleted list by starting each item with an asterisk (*) * it's ok to make editing mistakes * you can preview your work before saving it * even after saving it, you or someone else can edit it again to make it even better ==Formatting for Emphasis== Put single quote marks around words or phrases for formatting emphasis. Two single quotes, like <nowiki>''italics''</nowiki> will create ''italics''. Three single quotes, like <nowiki>'''bold text'''</nowiki> will create '''bold text'''. ---- Other stuff... If you know HTML or CSS formatting commands, they can also be used in this wiki. One useful HTML command is <nowiki><br /></nowiki> which creates a line break. If you want to show what a command looks like, rather than actually implementing the command, surround it with the '''nowiki''' command. t50393nc64rzcrta6iui4rdirxyweys 4 1821 3823 2010-09-23T04:52:12Z Default 49312 3823 wikitext text/x-wiki {{tocright}} There are many '''templates''' in use in {{SITENAME}}; these are only a subset, representing some of the most important and commonly used ones. If you feel that a template belongs on this page, do not hesitate to add it. * [[:Category:Templates]] should cover all templates in the wiki, categorized into the various subcategories. * The Template namespace (found from [[Special:Allpages]]) always has all templates in the wiki, sorted alphanumerically. == What are templates? == Wiki templates provide a means to insert the same content over and over in different (or the same) pages. This saves editors the hassle of duplicating the same text again and again, and also helps ensure consistency. Templates are generally shown with the format required to use the template (e.g. <code>{{t|stub}}</code>). Clicking the template name takes you to the template's page, where you can see what it looks like and how it is used. '''Detailed instructions on the usage of each template should exist on: # '''a subpage using {{t|documentation}}'''; or # the template page itself (inside "noinclude" tags); or # the template's talk page. For more information on templates, see [[Help:Templates]]. == [[:Category:Article management templates|Article management templates]] == === Nominate an article for deletion === {{t|delete}} * Add this to an article to nominate it for deletion. It will add the article to [[:Category:Candidates for deletion]]. {{t|speedydelete|reason}} * Add this to an article for pages that qualify for [[{{ns:project}}:Candidates for speedy deletion|speedy deletion]]. === Disambiguation articles === {{t|disambig}} * If you have several articles that have similar or identical names, you may wish to create a "disambiguation" page at the main article name, with the articles taking an extra phrase in brackets afterwards. For example: : '''The Prince''' <-- disambiguation page, with links to: :: The Prince (frog) :: The Prince (human) * Using {{t|disambig}} marks an article as a disambiguation page by adding a banner to the article and categorizing it under [[:Category:Disambiguations]]. Add links to the various articles under the banner. * For more information, see [[Help:Disambiguation]]. === Stubs === {{t|stub}} * When a page has little or no useful information, then it is likely a stub. This template will include them in [[:Category:Article stubs]], and is used to list which articles need expanding. * For more information, see [[Help:Stubs]]. == [[:Category:Category templates|Category templates]] == === General category template === {{t|category}} * This can be added to categories to add general categorising details. Use in cases where it may be useful to point out to users how to categorise, such as popular categories. === Template category template === {{t|templatecategory}} * This should be added to any template-related categories, to list template-specific categorising details, which differ from those of normal pages. == [[:Category:General wiki templates|General wiki templates]] == === Clear === {{t|clr}}, plus {{t|clrl}} and {{t|clrr}} * This template is used to reduce the amount of non-wikicode used on pages, replacing the code <code>&lt;br style="clear:both;" /&gt;</code>. Its use should generally be avoided. * You can use {{t|clr}} instead of the HTML tag that clears space below things like images, pictures and tables, so the following stuff doesn't begin until the bottom of the image, picture or table box. * You can also use {{t|clrl}} or {{t|clrr}} to clear only left or right floats. === For === {{t|for|name|link}} * Use at the top of articles as a simple "for x see y" template. === Main article === {{t|main|main article}} * Use at the start of a section to link to the main article on it. === Right-aligned Table of Contents === {{t|tocright}} * This template floats the table of contents (toc) on the right. It should only be used when absolutely necessary, to keep consistent design. === Sandbox === {{t|sandbox}} * A template that should be used to head up all [[Project:Sandbox]] pages. === T is for template === {{t|t|template}} * This template allows you to show example template code (with a link to the templates) without using the template itself. It is used extensively on this page. === Welcome === {{t|welcIP}} ''and'' {{t|welcome}} *The first (with longer version "welcomeIP" for those of you who like typing more) is to welcome new non-vandalistic contributors who are "anonymous", identified only by their IP number; it encourages them to register. * The second template is for welcoming new registered users. Should be customized for the wiki, indicating the pages we most want newcomers to visit. *The above two templates are very suitable for having "subst:" prefixed, because they can be edited with additions or deletions appropriate to the apparent strengths of the person being welcomed; e.g. if the contributor has already demonstrated good wiki editing skills you could delete references to pages about "how to edit". === Wikipedia === {{t|wikipedia}}, {{t|wikipedia-deleted}} * Wikipedia-related templates. Use {{t|wikipedia}} for articles taken directly from Wikipedia, and {{t|wikipedia-deleted}} for articles deleted from Wikipedia. [[Category:Templates| ]] ==Where you may find more templates== *[[w:c:templates|Wikia Templates]] *Wikipedia; may be copied with the proper acknowledgment, but some need tweaking to work properly on Wikia, so use a Wikia one if possible. 0o9asey36c69qrb6gquuj84zooa4dwz 5 1824 2822 2010-09-23T04:52:12Z Default 49312 2822 wikitext text/x-wiki [[Category:Community]] This is the '''general discussion page''' for the wiki! New founders should leave a nice welcome message and encourage new visitors and editors to leave a note to get the conversation started. ---- gl5bs54dqghhs7n0hlfbkyxjrcgzy5w 6 2106 3911 2010-09-23T05:20:17Z Spritzfellow 3082342 3911 wikitext text/x-wiki == Licensing == {{None selected}} edkx77hc9ed45vqhi0ih2w6fwjr2obi 6 2111 3919 2010-09-23T05:32:05Z Spritzfellow 3082342 3919 wikitext text/x-wiki == Licensing == {{Fairuse}} j42pnwbrr8mifbnh12219bz8gox25bi 6 1515 2782 2010-09-23T04:52:12Z Default 49312 2782 wikitext text/x-wiki Cropped and resized from [[Commons:Image:LotusBud0048a.jpg]] *Photographer: [[Commons:User:Fg2|Fg2]] {{PD}} [[Category:Images]] avvqjdicgoj3yc55s2yebigpcgvfh5i 6 1878 3689 2010-09-23T04:52:12Z Default 49312 3689 wikitext text/x-wiki [[Category:Images]] fwg0enol6185yz0jt2jpw8aer9m6squ 6 1482 3712 2010-09-23T04:52:12Z Default 49312 3712 wikitext text/x-wiki *'''Description:''' Image from the Mini icon theme by Mark James *'''Source:''' http://www.famfamfam.com/lab/icons/mini/ <br /> {{Permission}} [[Category:Images]] 1nznwr399evy1nfkgaumzxw61yxkfdt 6 1971 3615 2010-09-23T04:52:12Z Default 49312 3615 wikitext text/x-wiki Placeholder image for items. [[Category:Images]] 2sr0e154lnfj62ozmhqt8nenvmoh70o 6 1972 3616 2010-09-23T04:52:12Z Default 49312 3616 wikitext text/x-wiki Placeholder image for locations. [[Category:Images]] im0t9tdkpcog4xia1m6xturbe2zb7sa 6 1973 3617 2010-09-23T04:52:12Z Default 49312 3617 wikitext text/x-wiki Placeholder image for "other". [[Category:Images]] dofrnlrcgyiw1jd089hudp9q54po7tw 6 1974 3618 2010-09-23T04:52:12Z Default 49312 3618 wikitext text/x-wiki Placeholder image for people. [[Category:Images]] g92quqy8wrj3c7nlq9ixmoaxomt3c79 6 2107 3912 2010-09-23T05:21:35Z Spritzfellow 3082342 3912 wikitext text/x-wiki == Licensing == {{Self}} o9ddz0orafmtarmqju0pndujfvjv3vf 6 2105 3910 2010-09-23T05:18:46Z Spritzfellow 3082342 3910 wikitext text/x-wiki phoiac9h4m842xq45sp7s6u21eteeq1 6 2022 3855 2010-09-23T04:53:29Z Spritzfellow 3082342 3855 wikitext text/x-wiki phoiac9h4m842xq45sp7s6u21eteeq1 6 2103 3901 2010-09-23T05:09:36Z Spritzfellow 3082342 3901 wikitext text/x-wiki == Licensing == {{None selected}} edkx77hc9ed45vqhi0ih2w6fwjr2obi 8 2020 3851 2010-09-23T04:52:14Z Default 49312 SEO 3851 wikitext text/x-wiki Zine Library of Babel Wiki pohqsusp450kz6m1d1pxch0juhqwf8l 10 1772 3654 2010-09-23T04:52:12Z Default 49312 3654 wikitext text/x-wiki <onlyinclude>|</onlyinclude> {{documentation}} 482k5k6o1iym676dzqlo6yfmyo0tlel 10 1798 3256 2010-09-23T04:52:12Z Default 49312 3256 wikitext text/x-wiki ||<noinclude> {{documentation}}</noinclude> 9w1l3rx1tksmytabfwcd6ift27gzd42 10 1916 3362 2010-09-23T04:52:12Z Default 49312 3362 wikitext text/x-wiki ;Description :This template is used for creating two pipes, in [[Help:Table|wikitables]] contained in [[Help:Parser functions|Parser functions]]. ;Syntax :Insert this template using <code>{{t|!!}}</code> ;See also :[[m:Template:!!|Template:!!]] on Meta-Wiki. <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> 3tjusu9tq9tqj8f885gpbd8jno873lp 10 1915 3359 2010-09-23T04:52:12Z Default 49312 3359 wikitext text/x-wiki ;Description :This template is used for creating a pipe, in [[Help:Table|wikitables]] contained in [[Help:Parser functions|Parser functions]]. ;Syntax :Insert this template using <code>{{t|!}}</code> ;See also :[[m:Template:!|Template:!]] on Meta-Wiki. <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> fus0m31f3cmi3i3ivordud5vb3o3ebw 10 1995 3753 2010-09-23T04:52:12Z Default 49312 3753 wikitext text/x-wiki {| class="infobox" style="font-size:89%; width:300px;" |- ! colspan="2" style="background-color:#3366CC; color:#ffffff; font-size:120%; padding:1em;" | {{{name|{{PAGENAME}}}}} |- style="text-align:center;" {{#if: {{{image|}}} | {{!}} colspan="2" style="padding:0.5em;" {{!}} [[{{{image}}}|{{{imagewidth|250}}}px]] }} |- style="text-align:center;" | colspan="2" style="font-size:120%; background-color:#3366CC; color:#ffffff;" | ''{{{artist}}}'' |- {{#if: {{{released|}}} | {{!}} '''Released''' {{!!}} {{{released}}} }} |- {{#if: {{{recorded|}}} | {{!}} '''Recorded''' {{!!}} {{{recorded}}} }} |- {{#if: {{{length|}}} | {{!}} '''Length''' {{!!}} {{{length}}} }} |- {{#if: {{{label|}}} | {{!}} '''Label''' {{!!}} {{{label}}} }} |- {{#if: {{{producer|}}} | {{!}} '''Produced by''' {{!!}} {{{producer}}} }} |}<noinclude><br style="clear:both;" /> {{documentation}}</noinclude> qa668i83tes4turqpebfufl9s2r0kao 10 1996 3754 2010-09-23T04:52:12Z Default 49312 3754 wikitext text/x-wiki ;Description :To use this template, enter the following and fill in the appropriate fields. Any field left blank will not show up. Don't forget to include brackets, to make the fields into links. ;Syntax :Type <code>{{t|infobox album|...}}</code> somewhere, with parameters as shown below. ;Sample output <pre>{{infobox album | name = Album name [defaults to pagename] | image = Image:Example.jpg | imagewidth = [defaults to 250] | artist = Artist name | released = Release date | recorded = Date recorded | length = Album length | label = Label | producer = Producer }}</pre> Results in... {{infobox album | name = Album name | image = Image:Example.jpg | artist = Artist name | released = Release date | recorded = Date recorded | length = Album length | label = Label | producer = Producer }} <includeonly>[[Category:Infobox templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> d2tijgkvjg8tblgirqnylzwwea6eoyo 10 1902 3230 2010-09-23T04:52:12Z Default 49312 3230 wikitext text/x-wiki {| style="width:100%; margin-top:1em; border:1px solid #999; font-size:90%; text-align:center;" |- ! style="background-color:#3366CC; color:#FFFFFF; padding:0.2em 0.5em;" | This is a very large category! |- ! To see more of it, click the links below for specific letters, or click the "Next" (or "Prev") links.<br />Also note that subcategories are sorted alongside articles, so '''not all subcategories are visible on the first page'''. |- | style="text-align:center;" | [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}}} *] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=A}} A] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=B}} B] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=C}} C] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=D}} D] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=E}} E] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=F}} F] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=G}} G] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=H}} H] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=I}} I] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=J}} J] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=K}} K] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=L}} L] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=M}} M] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=N}} N] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=O}} O] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=P}} P] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=Q}} Q] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=R}} R] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=S}} S] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=T}} T] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=U}} U] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=V}} V] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=W}} W] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=X}} X] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=Y}} Y] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=Z}} Z]<br /> [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=0}} 0-9] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=a}} a] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=b}} b] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=c}} c] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=d}} d] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=e}} e] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=f}} f] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=g}} g] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=h}} h] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=i}} i] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=j}} j] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=k}} k] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=l}} l] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=m}} m] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=n}} n] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=o}} o] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=p}} p] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=q}} q] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=r}} r] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=s}} s] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=t}} t] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=u}} u] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=v}} v] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=w}} w] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=x}} x] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=y}} y] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=z}} z] - [{{fullurl:{{NAMESPACE}}:{{PAGENAME}}|from=~}} ~] |}<noinclude> {{documentation}}</noinclude> issa18cltcoitn5ifl5na3n0t4dunrf 10 1906 3243 2010-09-23T04:52:12Z Default 49312 3243 wikitext text/x-wiki ;Description :This template is used to help navigate large categories (generally those over 200 articles). ;Syntax :Type <code>{{t|bigcat}}</code> at the end of the category page. ;Sample output :<code><nowiki>{{bigcat}}</nowiki></code> gives... {{bigcat}} <includeonly>[[Category:Category templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> pq2misz3efxxjz3rlj30f3svgumkqme 10 1997 3755 2010-09-23T04:52:12Z Default 49312 3755 wikitext text/x-wiki {| style="clear: right; border: solid #aaa 1px; margin: 0 0 1em 1em; font-size: 95%; background: #f9f9f9; color:black; width: 310px; padding: 10px; text-align: left; float: right;" |- | colspan="2" align="center" style="font-size:125%;" bgcolor=#cef2e0 | {{PAGENAME}} |- | |- {{#if: {{{image|}}} | {{!}} align=center colspan=2 {{!}} [[Image:{{{image}}}|center|284px]] }} |- style="vertical-align: top;" {{#if: {{{author|}}} | {{!}} valign=top {{!}} '''Author''' {{!!}} {{{author}}} }} |- style="vertical-align: top;" {{#if: {{{illustrator|}}} | {{!}} valign=top {{!}} '''Illustrator''' {{!!}} {{{illustrator}}} }} |- style="vertical-align: top;" {{#if: {{{date|}}} | {{!}} '''Publication date''' {{!!}} {{{date}}} }} |- style="vertical-align: top;" {{#if: {{{publisher|}}} | {{!}} '''Published by''' {{!!}} {{{publisher}}} }} |- style="vertical-align: top;" {{#if: {{{isbn|}}} | {{!}} '''ISBN''' {{!!}} {{{isbn}}} }} |- | colspan="2" align="center" style="font-size:125%;" bgcolor=#cef2e0 | ''Publication Order'' |- align=center | valign=top align=center style="font-size:80%;" width=150 | Preceded by<br>{{{previous}}} | valign=top align=center style="font-size:80%;" width=150 | Followed by<br>{{{next}}} |}<noinclude> <br clear="all"> {{documentation}} [[Category:Templates|Book]] </noinclude> k3emrxpnsvx2a1m2jiuqzms8mga5nxv 10 1998 3756 2010-09-23T04:52:12Z Default 49312 3756 wikitext text/x-wiki ;Description :To use this template, enter the following and fill in the appropriate fields. Any field left blank will not show up. Don't forget to include brackets, to make the fields into links. ;Syntax :Type <code>{{t|book|...}}</code> somewhere, with parameters as shown below. ;Sample output <pre>{{Book | image = | author = | illustrator = | date = | publisher = | isbn = | previous = | next = }}</pre> Results in... {{Book | image = Example.jpg | author = Author | illustrator = Illustrator | date = Date | publisher = Publisher | isbn = ISBN | previous = Previous | next = Next }} <includeonly>[[Category:Infobox templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> 5xcqvqqj34rv6lvjchr6zzdfsx6wcvj 10 1620 3276 2010-09-23T04:52:12Z Default 49312 3276 wikitext text/x-wiki {|width="100%" cellpadding="0px" cellspacing="0px" |- valign="top" | style="width:50%; padding:.5em; border:1px solid #c9c9ff; color:#000; background-color:#f3f3ff;" |<noinclude> |} {{documentation}}</noinclude> px41jfgd72f6l6k4b1bptwax5wg87h2 10 1923 3384 2010-09-23T04:52:12Z Default 49312 3384 wikitext text/x-wiki ;Description :This template starts a blue box, as the first part of a two column box. ;Syntax :Type <code>{{t|Box1 start}}</code>, then whatever you would like inside the first box, then <code>{{t|Box2 start}}</code> and whatever you want in the second box, ended by <code>{{t|Boxes end}}</code>. :For example... <pre> {{Box1 start}} Text {{Box2 start}} Text {{Boxes end}} </pre> <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> cez1zboahj3m0n7opsjdtuqj60eolvu 10 1621 3282 2010-09-23T04:52:12Z Default 49312 3282 wikitext text/x-wiki | style="width:50%; padding:.5em; border:1px solid #b9ffb9; color:#000; background-color:#f3fff3;" |<noinclude> {{documentation}}</noinclude> mkkz7bipu7dimtrj8zrjb07ra1ygzio 10 1924 3387 2010-09-23T04:52:12Z Default 49312 3387 wikitext text/x-wiki ;Description :This template starts a purple box, as the second part of a two column box. ;Syntax :Type <code>{{t|Box1 start}}</code>, then whatever you would like inside the first box, then <code>{{t|Box2 start}}</code> and whatever you want in the second box, ended by <code>{{t|Boxes end}}</code>. :For example... <pre> {{Box1 start}} Text {{Box2 start}} Text {{Boxes end}} </pre> <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> m6ss14tgl95zprclw4aso2x34v82ci6 10 1622 3285 2010-09-23T04:52:12Z Default 49312 3285 wikitext text/x-wiki |}<noinclude> {{documentation}}</noinclude> ecbqhaur9r6m8ddfnwjqztn0uqt0tjy 10 1925 3390 2010-09-23T04:52:12Z Default 49312 3390 wikitext text/x-wiki ;Description :This template end a box, as the last part of a two column box. ;Syntax :Type <code>{{t|Box1 start}}</code>, then whatever you would like inside the first box, then <code>{{t|Box2 start}}</code> and whatever you want in the second box, ended by <code>{{t|Boxes end}}</code>. :For example... <pre> {{Box1 start}} Text {{Box2 start}} Text {{Boxes end}} </pre> <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> olivvx1kuq5yotkks4619ef9684khv5 10 1986 3721 2010-09-23T04:52:12Z Default 49312 3721 wikitext text/x-wiki <div class="boilerplate" id="cc-by-sa" style="width:90%; margin:0 auto; padding:10px; border:1px solid #A8ACA8; background:#FFFFCC; color:#000;"> '''''This file is licensed under the [http://creativecommons.org/licenses/by-sa/3.0/ Creative Commons Attribution-Share Alike License].''''' </div><noinclude> {{documentation}}</noinclude> n1omy1o7xnz140ji73zg7o0uaa92bqr 10 1987 3722 2010-09-23T04:52:12Z Default 49312 3722 wikitext text/x-wiki ;Description :This template is used to mark images with the CC-BY-SA license. ;Syntax :Type <code>{{t|CC-BY-SA}}</code> on the image information page. <includeonly>[[Category:Image wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> 3y02d98h991ybgu8u6me69fkdvymqo6 10 1855 3227 2010-09-23T04:52:12Z Default 49312 3227 wikitext text/x-wiki To add an article, image, or category to this category, append '''<code><nowiki>[[</nowiki>Category:{{PAGENAME}}]]</code>''' to the end of its page.<noinclude> {{documentation}}</noinclude> hu9okeasvb752smv1yslzd3jduxisjx 10 1905 3240 2010-09-23T04:52:12Z Default 49312 3240 wikitext text/x-wiki ;Description :This template may be placed on any category page, to encourage users to help populate that category. ''(Note, it will not say <nowiki>[[Category:Category]]</nowiki> there - it will use the local category name.)'' ;Syntax :To use the template, type a short description of the category (unless its name is self-explanatory) followed by <code>{{t|category}}</code>. <includeonly>[[Category:Category templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> rxbdtbkcvi0859z9k0u3r9e60sdm1br 10 1879 3619 2010-09-23T04:52:12Z Default 49312 3619 wikitext text/x-wiki {| class="boilerplate" id="c-fairuse" style="width:90%; margin:0 auto; padding:10px; border:2px solid #88A; background:#FFFFCC; color:black;" |- | align="center" |http://images.wikia.com/messaging/images//thumb/7/79/CC_some_rights_reserved.svg/90px-CC_some_rights_reserved.svg.png<br />http://images.wikia.com/messaging/images//thumb/1/11/Cc-by_new_white.svg/24px-Cc-by_new_white.svg.png http://images.wikia.com/messaging/images//thumb/d/df/Cc-sa_white.svg/24px-Cc-sa_white.svg.png | '''''This work is licensed under the Creative Commons [http://creativecommons.org/licenses/by-sa/3.0/ <span style="color:#002bb8;">Attribution-ShareAlike 3.0</span>] License.<br />{{#if:{{{1|}}}|<br />Attribution: {{{1|}}}}}''''' |}<noinclude> {{documentation}}</noinclude> bxs51qkbfqbqyo1kvg409p0ja6rce0p 10 1954 3519 2010-09-23T04:52:12Z Default 49312 3519 wikitext text/x-wiki ;Description :This template is used to mark images with the [http://creativecommons.org/licenses/by-sa/3.0/ CC-BY-SA-3.0] license. ;Syntax :Type <code>{{t|cc-by-sa-3.0|attribution details}}</code> on the image information page. :Replace "<code>attribution details</code>" with information about the source. <includeonly>[[Category:Image wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> ra882ibmfshyvsj1bpb3307fu0wbsle 10 1908 3337 2010-09-23T04:52:12Z Default 49312 3337 wikitext text/x-wiki ^{''&#91;citation&nbsp;needed&#93;''}<includeonly>[[Category:Citations needed]]</includeonly><noinclude> {{documentation}}</noinclude> n5igsb77lfl4lgxydti4kpffnoxag14 10 1943 3473 2010-09-23T04:52:12Z Default 49312 3473 wikitext text/x-wiki ;Description :This template is used to mark text as needing sourcing. ;Syntax :Place <code>{{t|cite}}</code> after unsourced and/or questionable text so that its implication is self explanatory as to what is lacking citation. If necessary, use the article's talk page to discuss further details. <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> nqdwx6zlv28aogrixi7ipo6bidpp36l 10 1810 3259 2010-09-23T04:52:12Z Default 49312 3259 wikitext text/x-wiki <div style="clear:both; margin:0; padding:0;"></div><noinclude> {{documentation}}</noinclude> o3cyjwxn0og6z9buxsbjoqe9w58x32x 10 1917 3365 2010-09-23T04:52:12Z Default 49312 3365 wikitext text/x-wiki ;Description :This template is a shorthand for <code>&lt;div style="clear:both;">&lt;/div></code>. :It moves any content following the template below any objects floating to the left and/or right (TOCs, infoboxes, images, etc..). ;Syntax :Type <code>{{t|clr}}</code> in an article at the point you want the clear. ;See also :{{t|clrl}} and {{t|clrr}} <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> d7wd82j8c193kdllb3c1m15f1m4lq6z 10 1811 3262 2010-09-23T04:52:12Z Default 49312 3262 wikitext text/x-wiki <div style="clear:left; margin:0; padding:0;"></div><noinclude> {{documentation}}</noinclude> htzmys0l0no4jz7fymo6gc1uoc02p8r 10 1918 3368 2010-09-23T04:52:12Z Default 49312 3368 wikitext text/x-wiki ;Description :This template is a shorthand for <code>&lt;div style="clear:left;">&lt;/div></code>. :It moves any content following the template below any objects floating to the left (TOCs, infoboxes, images, etc..). ;Syntax :Type <code>{{t|clrl}}</code> in an article at the point you want the clear. ;See also :{{t|clr}} and {{t|clrr}} <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> labgu1k4aenuw0uy82ewnzxmcji1ddo 10 1812 3265 2010-09-23T04:52:12Z Default 49312 3265 wikitext text/x-wiki <div style="clear:right; margin:0; padding:0;"></div><noinclude> {{documentation}}</noinclude> h8ja9bj69qkqqyft7cws9jf7athuyms 10 1919 3371 2010-09-23T04:52:12Z Default 49312 3371 wikitext text/x-wiki ;Description :This template is a shorthand for <code>&lt;div style="clear:right;">&lt;/div></code>. :It moves any content following the template below any objects floating to the right (TOCs, infoboxes, images, etc..). ;Syntax :Type <code>{{t|clrr}}</code> in an article at the point you want the clear. ;See also :{{t|clr}} and {{t|clrl}} <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> tm12tlp7rp89br9d2ihhtzwp7ggka2v 10 1805 3310 2010-09-23T04:52:12Z Default 49312 3310 wikitext text/x-wiki | valign="top" style="width:50%;" |<noinclude>{{documentation}}</noinclude> a1ia7g1mrltk4fmb913ifsw7lgnry8k 10 1934 3427 2010-09-23T04:52:12Z Default 49312 3427 wikitext text/x-wiki ;Description :This template starts a column, as part of a two-column template. ;Syntax :Type <code>{{t|Col-begin}}</code>, then whatever you would like inside the first box, then <code>{{t|Col-2}}</code> and whatever you want in the second box, ended by <code>{{t|Col-end}}</code>. :For example... <pre> {{Col-begin}} Text {{Col-2}} Text {{Col-end}} </pre> <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> 9k86trzjb4sr06e1tkqtntftqse9ded 10 1806 3250 2010-09-23T04:52:12Z Default 49312 3250 wikitext text/x-wiki {| class="{{{class|}}}" style="background-color:{{{bgColor|transparent}}}; color:{{{fontColor|inherit}}}; width:{{{width|100%}}};" |- <noinclude> |} {{documentation}}</noinclude> ip8kaz2u4oniuwni2d8hg3s1r5yd5ua 10 1914 3356 2010-09-23T04:52:12Z Default 49312 3356 wikitext text/x-wiki ;Description :This template starts a column, as part of a two-column template. ;Syntax :Type <code>{{t|Col-begin}}</code>, then whatever you would like inside the first box, then <code>{{t|Col-2}}</code> and whatever you want in the second box, ended by <code>{{t|Col-end}}</code>. :For example... <pre> {{Col-begin}} Text {{Col-2}} Text {{Col-end}} </pre> <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> 9k86trzjb4sr06e1tkqtntftqse9ded 10 1807 3245 2010-09-23T04:52:12Z Default 49312 3245 wikitext text/x-wiki |}<noinclude>{{documentation}}</noinclude> kw6nijp2wezrl0ixc3g0cobi6i0424g 10 1913 3353 2010-09-23T04:52:12Z Default 49312 3353 wikitext text/x-wiki ;Description :This template ends a column, as part of a two-column template. ;Syntax :Type <code>{{t|Col-begin}}</code>, then whatever you would like inside the first box, then <code>{{t|Col-2}}</code> and whatever you want in the second box, ended by <code>{{t|Col-end}}</code>. :For example... <pre> {{Col-begin}} Text {{Col-2}} Text {{Col-end}} </pre> <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> lhbt4if9wrq3qtq4p7uja2pc8ov9i9u 10 1507 3730 2010-09-23T04:52:12Z Default 49312 3730 wikitext text/x-wiki <div name="Deletion notice" class="boilerplate metadata" id="delete" style="background-color:#fee; margin:1em; padding:0 10px; border:1px solid #aaa;"> '''This page is a candidate for deletion.''' If you disagree with its deletion, please explain why at [[Category talk:Candidates for deletion]] or improve the page and remove the <code>{{t|delete}}</code> tag. Remember to check [[Special:Whatlinkshere/{{FULLPAGENAME}}|what links here]] and [{{fullurl:{{FULLPAGENAME}}|action=history}} the page history] before deleting. </div><includeonly>[[Category:Candidates for deletion]]</includeonly><noinclude> {{documentation}}</noinclude> 2wb40xvckgnc93kztm0cgguia122kk5 10 1897 3191 2010-09-23T04:52:12Z Default 49312 3191 wikitext text/x-wiki ;Description :This template is used to mark pages for deletion, categorizing them in [[:Category:Candidates for deletion]]. ;Syntax :Type <code>{{t|delete}}</code> on the page to be deleted.''' <includeonly>[[Category:Article management templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> kit83y87fnnd5jqh7m6xmu2rl7r1nkd 10 1818 3115 2010-09-23T04:52:12Z Default 49312 3115 wikitext text/x-wiki <div name="Disambiguation notice" class="boilerplate metadata" id="disambig" style="background-color: #eef; margin: 0 1em; padding: 0 10px; border: 1px solid #aaa;"> '''This article is a disambiguation page for {{PAGENAME}}''' The following is a list of links to pages that might share the same title.<br/> Please follow one of the disambiguation links below or [[Special:Search|search]] to find the page you were looking for if it is not listed. If an [[Special:Whatlinkshere/{{FULLPAGENAME}}|internal link]] led you here, you may wish to change the link to point directly to the intended article. </div><includeonly>[[Category:Disambiguations]]</includeonly><noinclude> {{documentation}}</noinclude> 600jt8jdvls8xx6v2acv6hnpubhoqu0 10 1895 3151 2010-09-23T04:52:12Z Default 49312 3151 wikitext text/x-wiki ;Description :Marks an article as a disambiguation page, adding a banner to the article and categorizing it under [[:Category:Disambiguations]]. :Articles using this template will also appear on [[Special:Disambiguations]]. ;Syntax :Add <code>{{t|disambig}}</code> at the top of a disambiguation page. <includeonly>[[Category:Article management templates|Disambiguation]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> glkbbl6a04fdplxmsz9q0xhsj3403hb 10 1896 3638 2010-09-23T04:52:12Z Default 49312 3638 wikitext text/x-wiki <noinclude><div style="display:none;"></noinclude><div style="border:1px solid black; margin:1em; margin-top:3em;"><div style="background:#ddd; color:#111; padding:1em; margin:0em;">'''Template documentation''' <span style="font-size:85%;">(for the above template, sometimes hidden or invisible)</span></div><div style="padding:1em; padding-bottom:0em; margin:0em;">{{tocright}} {{{{PAGENAME}}/doc}} </div><br style="clear:both;"/><div style="background:#ddd; color:#111; padding:0.5em; margin:0em; font-size:85%; text-align:right;">Visit [[Template:{{PAGENAME}}/doc]] to edit this text! ([[Template:Documentation|How does this work]]?)</div></div><noinclude></div> {{documentation}}[[Category:Template documentation| ]]</noinclude> ilegj3gawl8iq597jtk38r5229nyblg 10 1933 3636 2010-09-23T04:52:12Z Default 49312 3636 wikitext text/x-wiki ;Description :This template is used to insert descriptions on template pages. ;Syntax :Type <code><nowiki><noinclude></nowiki>{{t|documentation}}<nowiki></noinclude></nowiki></code> at the end of the template page. ==General usage== ===On the Template page=== <pre> Template code<includeonly>Any categories to be inserted into articles by the template</includeonly><noinclude> {{documentation}}</noinclude> </pre> Note that, depending on the template, you may need to add a clear or complete a table/div just before <code><nowiki>{{documentation}}</nowiki></code> is inserted (within the noinclude tags). The line break is also useful as it helps prevent the documentation template "running into" previous code. ===On the Template/doc page=== <pre> ;Description :This template is used to do something. ;Syntax :Type <code>{{t|templatename}}</code> somewhere. ;Sample output :<code>&lt;nowiki>{{templatename|foo}}&lt;/nowiki></code> gives... :{{templatename|foo}} <includeonly>Any categories for the template itself</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> </pre> Use any or all of the above description/syntax/sample output sections. You may also want to add "see also" or further usage information sections. Note that the above example also uses the [[Template:T]] and [[Template:T/piece]] templates. <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> nyf942axrg27g49faliy55k7t1y71g9 10 1911 3347 2010-09-23T04:52:12Z Default 49312 3347 wikitext text/x-wiki &#x5b;[{{fullurl:{{{1|{{FULLPAGENAME}}}}}|action=edit}} {{{2|edit}}}]&#x5d;<noinclude> {{documentation}}</noinclude> itnxlq5u95v2eydhhldy74kdfl84isz 10 1946 3482 2010-09-23T04:52:12Z Default 49312 3482 wikitext text/x-wiki ;Description :This template creates a clickable edit link for the given page name. ;Syntax :Type <code>{{t|edit}}</code>, <code>{{t|edit|pagename}}</code> or <code>{{t|edit|pagename|linkname}}</code>. ;Sample output :<code><nowiki>{{edit}}</nowiki></code> gives... :{{edit}} :<code><nowiki>{{edit|Wikia Templates}}</nowiki></code> gives... :{{edit|Wikia Templates}} :<code><nowiki>{{edit|Wikia Templates|edit the main page!}}</nowiki></code> gives... :{{edit|Wikia Templates|edit the main page!}} <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> c0wpb9du33rwxbfx43khsg3caaralmx 10 1999 3757 2010-09-23T04:52:12Z Default 49312 3757 wikitext text/x-wiki {| style="width:65%; margin:20px auto 10px auto; border:1px solid #AAA; background: #f9f9f9; text-align:center;" |- | style="padding:0 5px 0 10px; width:50%;" | '''Previous episode:''' | style="padding:0 5px 0 10px; width:50%;" | '''Next episode:''' |- | style="padding:0 5px 0 10px; | {{{prev|}}} | style="padding:0 5px 0 10px; | {{{next|}}} |}<noinclude> {{documentation}}</noinclude> 0649jofl9yfhk5j6yrnv9tf9dwfgmsk 10 2000 3758 2010-09-23T04:52:12Z Default 49312 3758 wikitext text/x-wiki ;Description :This templates is used to provide quick, consistent link to the previous and next episodes in a series. ;Syntax :Type <code>{{t|ep-nav|<nowiki>prev=</nowiki>|<nowiki>next=</nowiki>}}</code> at the bottom of episode pages, filling in the prev= and next= fields. Don't forget to include brackets, to make the fields into links. ;Sample output :<code><nowiki>{{ep-nav|prev=[[Help:Templates|Link A]] plus text|next=[[Help:Templates|Link C]]}}</nowiki></code> gives... :{{ep-nav|prev=[[Help:Templates|Link A]] plus text|next=[[Help:Templates|Link C]]}} <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> evf1qpqaxnlvosuwtpqp9imquxo4383 10 1500 3487 2010-09-23T04:52:12Z Default 49312 3487 wikitext text/x-wiki <div class="boilerplate" id="c-fairuse" style="width:90%; margin:0 auto; padding:10px; border:1px solid #A8ACA8; background:#FFFFCC; color:#000;"> '''''This file is copyrighted. It will be used in a way that qualifies as fair use under US copyright law.''''' </div><noinclude> {{documentation}}</noinclude> noev11ypgatftsjjso9y7dqj4sacrjp 10 1948 3506 2010-09-23T04:52:12Z Default 49312 3506 wikitext text/x-wiki ;Description :This template is used to mark images as fair use. ;Syntax :Type <code>{{t|fairuse}}</code> on the image information page. <includeonly>[[Category:Image wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> c339l756ke5h06078b2haad8d44gbpt 10 1929 3404 2010-09-23T04:52:12Z Default 49312 3404 wikitext text/x-wiki ;Description :This template is used at the top of pages for simple [[Help:Disambiguation|disambiguations]]. ;Syntax :Type <code>{{t|for|something|page name|optional second pagename}}</code> ;Sample output :<code><nowiki>{{for|the help pages|Help:Contents|Help:Main Page}}</nowiki></code> gives... :{{for|the help pages|Help:Contents|Help:Main Page}} :<code><nowiki>{{for|2=Help:Contents}}</nowiki></code> gives... :{{for|2=Help:Contents}} ;See also :[[Wikipedia:Template:For|Template:For]] on Wikipedia. <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> f0tb40kw0wqnb36n1iybk9azlt438h9 10 1467 3650 2010-09-23T04:52:12Z Default 49312 3650 wikitext text/x-wiki <div class="forumheader">'''Forums:''' [[Forum:Index|Index]] > [[Forum:{{{1}}}|{{{1}}}]] > {{PAGENAME}}</div><br /> [[Category:{{{1}}}]] <noinclude> [[Category:Forums]] {{documentation}}</noinclude> qjkbs5fw8xma3g8jbfjsfcqpb8wnd9n 10 1464 3644 2010-09-23T04:52:12Z Default 49312 3644 wikitext text/x-wiki {{Forumheader|Help desk}} <!-- Please put your content under this paragraph. Be sure to sign your edits with four tildes: ~~~~ --> b9q8l5j5h1n8ewsq41ll2gc4fjxogmo 10 1466 3642 2010-09-23T04:52:12Z Default 49312 3642 wikitext text/x-wiki {{Forumheader|Watercooler}} <!-- Please put your content under this paragraph. Be sure to sign your edits with four tildes ~~~~ --> kh1p3ufawqag49txrzfsi9eh6azuhwp 10 1939 3643 2010-09-23T04:52:12Z Default 49312 3643 wikitext text/x-wiki ;Description :This template is used at the top of certain forum pages. It is used in conjunction with template subpages such as [[Template:Forumheader/Watercooler]], which are involved in preloads and cannot therefore include the standard link to their own documentation. See [[Help:Wiki-style forums]] for more information. ;Syntax :<code>{{t|Forumheader|Name of forum}}</code>. <includeonly>[[Category:General wiki templates]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> 3w7h52tuudx90f1k78r7mqqb1reo3rg 10 1787 3635 2010-09-23T04:52:12Z Default 49312 3635 wikitext text/x-wiki <div class="boilerplate" id="c-fairuse" style="width:90%; margin:0 auto; padding:10px; border:1px solid #A8ACA8; background:#FFFFCC; color:#000;"> '''''This file was originally uploaded on Wikipedia or another Wikimedia project.''''' </div><noinclude> {{documentation}}</noinclude> 5fj9mbrnwj9tr0edqijbu1ygqsxju60 10 1950 3510 2010-09-23T04:52:12Z Default 49312 3510 wikitext text/x-wiki ;Description :This template is used to mark images as having been uploaded on [[wikipedia:|Wikipedia]] or another [[wikimedia:|Wikimedia]] project. ;Syntax :Type <code>{{t|From Wikimedia}}</code> on the image information page. <includeonly>[[Category:Image wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> saqyayikd1h12oj5t6sxlae45x4zu7p 10 1932 3415 2010-09-23T04:52:12Z Default 49312 3415 wikitext text/x-wiki ;Description :This template produces an h2 heading enclosed in a coloured box. ;Syntax :Type <code>{{t|HeadingA|Header title}}</code>. ;Sample output :{{t|HeadingA|Header title}} gives... :{{HeadingA|Header title}} <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> effkyakhrpi6l6c9weemmr6bq73bf59 10 1935 3431 2010-09-23T04:52:12Z Default 49312 3431 wikitext text/x-wiki ;Description :This template produces an h2 heading enclosed in a coloured box. ;Syntax :Type <code>{{t|HeadingB|Header title}}</code>. ;Sample output :{{t|HeadingB|Header title}} gives... :{{HeadingB|Header title}} <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> coudknwx5mw5symdv72oab35lhldlx9 10 1904 3236 2010-09-23T04:52:12Z Default 49312 3236 wikitext text/x-wiki ;Description :This template may be placed on any image category page, to help users understand how to upload and add images to that category. ;Syntax :To use the template, type a short description of the image category followed by <code>{{t|imagecategory}}</code>. <includeonly>[[Category:Category templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> 2jhdjdokgjo229dj5wp43r1mbb7znvv 10 1862 3324 2010-09-23T04:52:12Z Default 49312 3324 wikitext text/x-wiki {| class="infobox" style="font-size:89%; width:300px; background-color:#FFF;" |- ! colspan="2" style="background-color:#3366CC; color:#FFFFFF; font-size:120%; padding:1em;" | {{{Box title|No Title}}} {{#if: {{{image|}}}| {{!}}- {{!}} colspan="2" style="text-align:center;" {{!}} [[{{{image}}}|{{{imagewidth|250}}}px]]<br/>''{{{caption| }}}'' | }} |- | style="width:30%;" | '''{{{Row 1 title|No Title}}}''' | style="width:70%;" | {{{Row 1 info|No information}}} {{#if: {{{Row 2 title|}}}| {{!}}- {{!}} '''{{{Row 2 title}}}''' {{!}} {{{Row 2 info|No information}}} {{#if: {{{Row 3 title|}}}| {{!}}- {{!}} '''{{{Row 3 title}}}''' {{!}} {{{Row 3 info|No information}}} {{#if: {{{Row 4 title|}}}| {{!}}- {{!}} '''{{{Row 4 title}}}''' {{!}} {{{Row 4 info|No information}}} {{#if: {{{Row 5 title|}}}| {{!}}- {{!}} '''{{{Row 5 title}}}''' {{!}} {{{Row 5 info|No information}}} {{#if: {{{Row 6 title|}}}| {{!}}- {{!}} '''{{{Row 6 title}}}''' {{!}} {{{Row 6 info|No information}}} {{#if: {{{Row 7 title|}}}| {{!}}- {{!}} '''{{{Row 7 title}}}''' {{!}} {{{Row 7 info|No information}}} {{#if: {{{Row 8 title|}}}| {{!}}- {{!}} '''{{{Row 8 title}}}''' {{!}} {{{Row 8 info|No information}}} {{#if: {{{Row 9 title|}}}| {{!}}- {{!}} '''{{{Row 9 title}}}''' {{!}} {{{Row 9 info|No information}}} {{#if: {{{Row 10 title|}}}| {{!}}- {{!}} '''{{{Row 10 title}}}''' {{!}} {{{Row 10 info|No information}}} {{#if: {{{Row 11 title|}}}| {{!}}- {{!}} colspan="2" style="text-align:center; background:#AAAAAA;" {{!}} '''Too many parameters''' | }} | }} | }} | }} | }} | }} | }} | }} | }} | }} |}<noinclude><br style="clear:both;"/> {{documentation}}</noinclude> s3rnjo00kpykkxwjdyis3etxfv9povy 10 1938 3459 2010-09-23T04:52:12Z Default 49312 3459 wikitext text/x-wiki ==Description== *This template produces a [[Help:Infobox|infobox]]-style template. *You may want to copy and modify this to create a specific infobox (e.g. character infobox). *This template requires [[Help:Parser functions|parser functions]] to be enabled (Wikia default: on). ==Syntax== <pre> {{infobox |Box title = |image = Image:Example.jpg |imagewidth = [defaults to 250] |caption = Bob the Flower |Row 1 title = |Row 1 info = |Row 2 title = |Row 2 info = |Row 3 title = |Row 3 info = |Row 4 title = |Row 4 info = |Row 5 title = |Row 5 info = |Row 6 title = |Row 6 info = |Row 7 title = |Row 7 info = |Row 8 title = |Row 8 info = |Row 9 title = |Row 9 info = |Row 10 title = |Row 10 info = }} </pre> ===Notes=== * Keeping the '''Box Title''' empty will result in displaying '''No title''' * If you don't want to display image, just keep '''Image file Name''' and '''Image Size''' empty. * Keeping the '''Row 1 title''' empty will result in displaying '''No title'''. * Keeping the '''Row (any row) info''' empty will result in displaying '''No information'''. * Keeping the '''Row (any below row 1) title''' empty will result in that row and the rest of the rows below it will not be displayed. * Max row for information: 10 rows. ==Sample output== {{Infobox |Box title = Info Title |image = Image:Example.jpg |imagewidth = 120 |caption = A flower |Row 1 title = Title row 1 |Row 1 info = Info row 1 |Row 2 title = Title row 2 |Row 2 info = Info row 2 |Row 3 title = Title row 3 |Row 3 info = Info row 3 |Row 4 title = Title row 4 |Row 4 info = Info row 4 |Row 5 title = Title row 5 |Row 5 info = Info row 5 |Row 6 title = Title row 6 |Row 6 info = Info row 6 |Row 7 title = Title row 7 |Row 7 info = Info row 7 |Row 8 title = Title row 8 |Row 8 info = Info row 8 |Row 9 title = Title row 9 |Row 9 info = Info row 9 |Row 10 title = Title row 10 |Row 10 info = Info row 10 }} Complete Infobox:<br /> <code> '''<nowiki>{{</nowiki>Infobox'''<br /> '''|'''Box title = Info Title<br /> '''|'''image = Image:Example.jpg<br /> '''|'''imagewidth = 120<br /> '''|'''caption = A flower<br /> '''|'''Row 1 title = Title row 1<br /> '''|'''Row 1 info = Info row 1<br /> '''|'''Row 2 title = Title row 2<br /> '''|'''Row 2 info = Info row 2<br /> '''|'''Row 3 title = Title row 3<br /> '''|'''Row 3 info = Info row 3<br /> '''|'''Row 4 title = Title row 4<br /> '''|'''Row 4 info = Info row 4<br /> '''|'''Row 5 title = Title row 5<br /> '''|'''Row 5 info = Info row 5<br /> '''|'''Row 6 title = Title row 6<br /> '''|'''Row 6 info = Info row 6<br /> '''|'''Row 7 title = Title row 7<br /> '''|'''Row 7 info = Info row 7<br /> '''|'''Row 8 title = Title row 8<br /> '''|'''Row 8 info = Info row 8<br /> '''|'''Row 9 title = Title row 9<br /> '''|'''Row 9 info = Info row 9<br /> '''|'''Row 10 title = Title row 10<br /> '''|'''Row 10 info = Info row 10<br /> '''<nowiki>}}</nowiki>''' </code> <br style="clear:both; margin-bottom:3em;"/> {{Infobox |Box title = Info Title |Row 1 title = Title row 1 |Row 1 info = Info row 1 |Row 2 title = Title row 2 |Row 2 info = Info row 2 |Row 3 title = Title row 3 |Row 3 info = Info row 3 |Row 4 title = Title row 4 |Row 4 info = Info row 4 |Row 5 title = Title row 5 |Row 5 info = Info row 5 |Row 6 title = Title row 6 |Row 6 info = Info row 6 |Row 7 title = Title row 7 |Row 7 info = Info row 7 |Row 8 title = Title row 8 |Row 8 info = Info row 8 |Row 9 title = Title row 9 |Row 9 info = Info row 9 |Row 10 title = Title row 10 |Row 10 info = Info row 10 }} Infobox '''Image''' omitted :<br /> <code> '''<nowiki>{{</nowiki>Infobox'''<br /> '''|'''Box title = Info Title<br /> '''|'''Row 1 title = Title row 1<br /> '''|'''Row 1 info = Info row 1<br /> '''|'''Row 2 title = Title row 2<br /> '''|'''Row 2 info = Info row 2<br /> '''|'''Row 3 title = Title row 3<br /> '''|'''Row 3 info = Info row 3<br /> '''|'''Row 4 title = Title row 4<br /> '''|'''Row 4 info = Info row 4<br /> '''|'''Row 5 title = Title row 5<br /> '''|'''Row 5 info = Info row 5<br /> '''|'''Row 6 title = Title row 6<br /> '''|'''Row 6 info = Info row 6<br /> '''|'''Row 7 title = Title row 7<br /> '''|'''Row 7 info = Info row 7<br /> '''|'''Row 8 title = Title row 8<br /> '''|'''Row 8 info = Info row 8<br /> '''|'''Row 9 title = Title row 9<br /> '''|'''Row 9 info = Info row 9<br /> '''|'''Row 10 title = Title row 10<br /> '''|'''Row 10 info = Info row 10<br /> '''<nowiki>}}</nowiki>''' </code> <br style="clear:both; margin-bottom:3em;"/> {{Infobox |Box title = Info Title |Row 1 title = Title row 1 |Row 1 info = Info row 1 |Row 2 title = Title row 2 |Row 2 info = Info row 2 |Row 3 title = Title row 3 |Row 3 info = Info row 3 }} Infobox '''Image''' omitted and displaying only 3 rows of information:<br /> <code> '''<nowiki>{{</nowiki>Infobox'''<br /> '''|'''Box title = Info Title<br /> '''|'''Row 1 title = Title row 1<br /> '''|'''Row 1 info = Info row 1<br /> '''|'''Row 2 title = Title row 2<br /> '''|'''Row 2 info = Info row 2<br /> '''|'''Row 3 title = Title row 3<br /> '''|'''Row 3 info = Info row 3<br /> '''<nowiki>}}</nowiki>''' </code> <br style="clear:both; margin-bottom:3em;"/> {{Infobox |Box title = Info Title |Row 1 title = Title row 1 |Row 1 info = Info row 1 |Row 2 title = Title row 2 |Row 2 info = Info row 2 |Row 3 title = Title row 3 |Row 3 info = Info row 3 |Row 4 info = Info row 4 |Row 5 title = Title row 5 |Row 5 info = Info row 5 |Row 6 title = Title row 6 |Row 6 info = Info row 6 }} Infobox '''Image''' and '''title row 4''' omited:<br /> Result: Row 4, 5, and 6 will not be displayed.<br /> <code> '''<nowiki>{{</nowiki>Infobox'''<br /> '''|'''Box title = Info Title<br /> '''|'''Row 1 title = Title row 1<br /> '''|'''Row 1 info = Info row 1<br /> '''|'''Row 2 title = Title row 2<br /> '''|'''Row 2 info = Info row 2<br /> '''|'''Row 3 title = Title row 3<br /> '''|'''Row 3 info = Info row 3<br /> '''|'''Row 4 info = Info row 4<br /> '''|'''Row 5 title = Title row 5<br /> '''|'''Row 5 info = Info row 5<br /> '''|'''Row 6 title = Title row 6<br /> '''|'''Row 6 info = Info row 6<br /> '''<nowiki>}}</nowiki>''' </code> <includeonly>[[Category:General wiki templates|{{PAGENAME}}]][[Category:Infobox templates| ]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> 13x3wz80dnzbacuryxhppngsen8atrb 10 1962 3569 2010-09-23T04:52:12Z Default 49312 3569 wikitext text/x-wiki {| class="infobox" style="font-size:89%; width:300px;" |- ! colspan="2" style="background-color:#3366CC; color:#ffffff; font-size:120%; padding:1em;" | {{{name|{{PAGENAME}}}}} |- style="text-align:center;" {{#if: {{{image|}}} | {{!}} colspan="2" style="padding:0.5em;" {{!}} [[{{{image}}}|{{{imagewidth|250}}}px]] }} |- style="text-align:center;" | colspan="2" style="font-size:120%; background-color:#3366CC; color:#ffffff;" | ''{{{artist}}}'' |- {{#if: {{{released|}}} | {{!}} '''Released''' {{!!}} {{{released}}} }} |- {{#if: {{{recorded|}}} | {{!}} '''Recorded''' {{!!}} {{{recorded}}} }} |- {{#if: {{{length|}}} | {{!}} '''Length''' {{!!}} {{{length}}} }} |- {{#if: {{{label|}}} | {{!}} '''Label''' {{!!}} {{{label}}} }} |- {{#if: {{{producer|}}} | {{!}} '''Produced by''' {{!!}} {{{producer}}} }} |}<noinclude><br style="clear:both;" /> {{documentation}}</noinclude> qa668i83tes4turqpebfufl9s2r0kao 10 1969 3608 2010-09-23T04:52:12Z Default 49312 3608 wikitext text/x-wiki ;Description :To use this template, enter the following and fill in the appropriate fields. Any field left blank will not show up. Don't forget to include brackets, to make the fields into links. ;Syntax :Type <code>{{t|infobox album|...}}</code> somewhere, with parameters as shown below. ;Sample output <pre>{{infobox album | name = Album name [defaults to pagename] | image = Image:Example.jpg | imagewidth = [defaults to 250] | artist = Artist name | released = Release date | recorded = Date recorded | length = Album length | label = Label | producer = Producer }}</pre> Results in... {{infobox album | name = Album name | image = Image:Example.jpg | artist = Artist name | released = Release date | recorded = Date recorded | length = Album length | label = Label | producer = Producer }} <includeonly>[[Category:Infobox templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> d2tijgkvjg8tblgirqnylzwwea6eoyo 10 1957 3532 2010-09-23T04:52:12Z Default 49312 3532 wikitext text/x-wiki {| class="infobox" style="font-size:89%; width:300px;" |- ! colspan="2" style="background-color:#3366CC; color:#ffffff; font-size:120%; padding:1em;" | {{{name|{{PAGENAME}}}}} |- style="text-align:center;" | colspan="2" style="padding:0.5em;" | [[{{{image|Image:Placeholder person.png}}}|{{{imagewidth|250}}}px]]<br/>''{{{caption| }}}'' |- ! colspan="2" style="background-color:#3366CC; color:#ffffff;" | Vital statistics |- | style="width:30%;" | '''Title''' | style="width:70%;" | {{{title}}} |- | '''Gender''' | {{{gender}}} |- | '''Race''' | {{{race}}} |- | '''Faction''' | {{{faction}}} |- | '''Health''' | {{{health}}} |- | '''Level''' | {{{level}}} |- | '''Status''' | {{{status}}} |- | '''Location''' | {{{location}}} |}<noinclude><br style="clear:both;" /> {{documentation}}</noinclude> ml7wilvjm768f50d8tw0s7d7e44ecwr 10 1964 3582 2010-09-23T04:52:12Z Default 49312 3582 wikitext text/x-wiki ;Description :This template is used to create a character infobox. ;Syntax :Type <code>{{t|infobox character|...}}</code> somewhere, with parameters as shown below. ;Sample output <pre>{{infobox character | name = Bob [defaults to pagename] | image = Image:Example.jpg | imagewidth = [defaults to 250] | caption = Bob the Flower | title = The Flower | gender = Male | race = Flowerkind | faction = Flora | health = 9001 | level = 5 | status = Flowering | location = The Garden }}</pre> Results in... {{infobox character | name = Bob | image = Image:Example.jpg | caption = Bob the Flower | title = The Flower | gender = Male | race = Flowerkind | faction = Flora | health = 9001 | level = 5 | status = Flowering | location = The Garden }} <includeonly>[[Category:Infobox templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> 4y1zjfdox5buv2w7j51xmb0mpyh9juy 10 1963 3574 2010-09-23T04:52:12Z Default 49312 3574 wikitext text/x-wiki {| class="infobox" style="font-size:89%; width:300px;" |- ! colspan="2" style="background-color:#3366CC; color:#ffffff; font-size:120%; padding:1em;" | ''{{{name}}}'' |- style="text-align:center;" | colspan="2" | ''Season {{{season}}}, Episode {{{number}}}'' |- style="text-align:center;" {{#if: {{{image|}}} | {{!}} colspan="2" style="padding:0.5em;" {{!}} [[{{{image}}}|{{{imagewidth|250}}}px]] }} |- {{#if: {{{airdate|}}} | {{!}} '''Air date''' {{!!}} {{{airdate}}} }} |- {{#if: {{{writer|}}} | {{!}} '''Written by''' {{!!}} {{{writer}}} }} |- {{#if: {{{director|}}} | {{!}} '''Directed by''' {{!!}} {{{director}}} }} |- | colspan="2" style="background-color:#3366CC; color:#ffffff; font-size:120%; padding:0.25em; text-align:center;" | Episode guide |- style="text-align:center; font-size:95%;" valign="top" | '''Previous'''<br />{{{previous}}} | '''Next'''<br />{{{next}}} |}<noinclude><br style="clear:both;" /> {{documentation}}</noinclude> j1ua6695ru8bh64w0xlzni0zsvhzw2q 10 1970 3612 2010-09-23T04:52:12Z Default 49312 3612 wikitext text/x-wiki ;Description :To use this template, enter the following and fill in the appropriate fields. Most fields left blank will not show up. Don't forget to include brackets, to make the fields into links. ;Syntax :Type <code>{{t|infobox episode|...}}</code> somewhere, with parameters as shown below. ;Sample output <pre>{{infobox episode | name = Five Alive | season = Five | number = Five | image = Image:Example.jpg | imagewidth = [defaults to 250] | airdate = Unaired | writer = Mr. Writer | director = Ms. Director | previous = Episode A | next = Episode C }}</pre> Results in... {{infobox episode | name = Five Alive | season = Five | number = Five | image = Image:Example.jpg | airdate = Unaired | writer = Mr. Writer | director = Ms. Director | previous = Episode A | next = Episode C }} <includeonly>[[Category:Infobox templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> 6lhpjsjmcc65qbymt24bfmtbp4wxr41 10 1958 3539 2010-09-23T04:52:12Z Default 49312 3539 wikitext text/x-wiki {| class="infobox" style="font-size:89%; width:300px;" |- ! colspan="2" style="background-color:#3366CC; color:#ffffff; font-size:120%; padding:1em;" | {{{name|{{PAGENAME}}}}} |- style="text-align:center;" | colspan="2" style="padding:0.5em;" | [[{{{image|Image:Placeholder other.png}}}|{{{imagewidth|250}}}px]]<br/>''{{{caption| }}}'' |- ! colspan="2" style="background-color:#3366CC; color:#ffffff;" | Vital statistics |- | style="width:30%;" | '''Participants''' | style="width:70%;" | {{{participants}}} |- | '''Date''' | {{{date}}} |- | '''Location''' | {{{location}}} |}<noinclude><br style="clear:both;" /> {{documentation}}</noinclude> r2cyrzrpgo56g8lc8qn3l69ydps5q5e 10 1965 3586 2010-09-23T04:52:12Z Default 49312 3586 wikitext text/x-wiki ;Description :This template is used to create an event infobox. ;Syntax :Type <code>{{t|infobox event|...}}</code> somewhere, with parameters as shown below. ;Sample output <pre>{{infobox event | name = Bob's Birthday Party [defaults to pagename] | image = Image:Example.jpg | imagewidth = [defaults to 250] | caption = Bob the Flower | participants = Bob's friends | date = Bob's birthday | location = Bob's house }}</pre> Results in... {{infobox event | name = Bob's Birthday Party | image = Image:Example.jpg | caption = Bob the Flower | participants = Bob's friends | date = Bob's birthday | location = Bob's house }} <includeonly>[[Category:Infobox templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> min1l0l8mcg5hxkxwmew1yn8fqlcqg4 10 1959 3545 2010-09-23T04:52:12Z Default 49312 3545 wikitext text/x-wiki {| class="infobox" style="font-size:89%; width:300px;" |- ! colspan="2" style="background-color:#3366CC; color:#ffffff; font-size:120%; padding:1em;" | {{{name|{{PAGENAME}}}}} |- style="text-align:center;" | colspan="2" style="padding:0.5em;" | [[{{{image|Image:Placeholder item.png}}}|{{{imagewidth|250}}}px]]<br/>''{{{caption| }}}'' |- ! colspan="2" style="background-color:#3366CC; color:#ffffff;" | Vital statistics |- | style="width:30%;" | '''Type''' | style="width:70%;" | {{{type}}} |- | '''Effects''' | {{{effects}}} |- | '''Source''' | {{{source}}} |- | '''Cost to buy''' | {{{buy}}} |- | '''Cost to sell''' | {{{sell}}} |}<noinclude><br style="clear:both;" /> {{documentation}}</noinclude> gicvpuxvsos73d71i5f1e8cv7cg9jy2 10 1966 3590 2010-09-23T04:52:12Z Default 49312 3590 wikitext text/x-wiki ;Description :This template is used to create an item infobox. ;Syntax :Type <code>{{t|infobox item|...}}</code> somewhere, with parameters as shown below. ;Sample output <pre>{{infobox item | name = Bob's Petal [defaults to pagename] | image = Image:Example.jpg | imagewidth = [defaults to 250] | caption = Bob the Flower | type = Petal | effects = Adds +1 prettiness | source = Earth | buy = 1 Seed | sell = 5 Pollen }}</pre> Results in... {{infobox item | name = Bob's Petal | image = Image:Example.jpg | caption = Bob the Flower | type = Petal | effects = Adds +1 prettiness | source = Earth | buy = 1 Seed | sell = 5 Pollen }} <includeonly>[[Category:Infobox templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> 34blkbx548nlz4z4kggs8wedflvx5kr 10 1960 3551 2010-09-23T04:52:12Z Default 49312 3551 wikitext text/x-wiki {| class="infobox" style="font-size:89%; width:300px;" |- ! colspan="2" style="background-color:#3366CC; color:#ffffff; font-size:120%; padding:1em;" | {{{name|{{PAGENAME}}}}} |- style="text-align:center;" | colspan="2" style="padding:0.5em;" | [[{{{image|Image:Placeholder location.png}}}|{{{imagewidth|250}}}px]]<br/>''{{{caption| }}}'' |- style="text-align:center;" | colspan="2" style="padding:0.5em;" | [[{{{map}}}|{{{mapwidth|250}}}px]]<br/>''{{{mapcaption| }}}'' |- ! colspan="2" style="background-color:#3366CC; color:#ffffff;" | Vital statistics |- | style="width:30%;" | '''Type''' | style="width:70%;" | {{{type}}} |- | '''Level''' | {{{level}}} |- | '''Location''' | {{{location}}} |- | '''Inhabitants''' | {{{inhabitants}}} |}<noinclude><br style="clear:both;" /> {{documentation}}</noinclude> 6d869j40kq4sg7ilftvjtdfow2qkkk2 10 1967 3596 2010-09-23T04:52:12Z Default 49312 3596 wikitext text/x-wiki ;Description :This template is used to create a location infobox. ;Syntax :Type <code>{{t|infobox location|...}}</code> somewhere, with parameters as shown below. ;Sample output <pre>{{infobox location | name = Land of Bob [defaults to pagename] | image = Image:Example.jpg | imagewidth = [defaults to 250] | caption = Bob the Flower | map = Image:Example.jpg | mapwidth = [defaults to 250] | mapcaption = Land of Bob | type = Garden | level = 10-20 | location = Earth | inhabitants = Flowerfolk }}</pre> Results in... {{infobox location | name = Land of Bob | image = Image:Example.jpg | caption = Bob the Flower | map = Image:Example.jpg | mapcaption = Bob the Flower | type = Garden | level = 10-20 | location = Earth | inhabitants = Flowerfolk }} <includeonly>[[Category:Infobox templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> 9yilrifwc6qya4s57m7wqkmt5bv6r0r 10 1961 3558 2010-09-23T04:52:12Z Default 49312 3558 wikitext text/x-wiki {| class="infobox" style="font-size:89%; width:300px;" |- ! colspan="2" style="background-color:#3366CC; color:#ffffff; font-size:120%; padding:1em;" | {{{name|{{PAGENAME}}}}} |- style="text-align:center;" | colspan="2" style="padding:0.5em;" | [[{{{image|Image:Placeholder item.png}}}|{{{imagewidth|250}}}px]]<br/>''{{{caption| }}}'' |- ! colspan="2" style="background-color:#3366CC; color:#ffffff;" | Vital statistics |- | style="width:50%;" | '''Start''' | style="width:50%;" | {{{start}}} |- | '''End''' | {{{end}}} |- | '''Prerequisites''' | {{{prereqs}}} |- | '''Level''' | {{{level}}} |- | '''Location''' | {{{location}}} |- | '''Rewards''' | {{{rewards}}} |- ! colspan="2" style="background-color:#3366CC; color:#ffffff;" | Progression |- style="text-align:center" | '''Previous''' | '''Next''' |- style="text-align:center" | {{{previous}}} | {{{next}}} |}<noinclude><br style="clear:both;" /> {{documentation}}</noinclude> rlfi15fwildnsruxlct6hp9va49vhfi 10 1968 3600 2010-09-23T04:52:12Z Default 49312 3600 wikitext text/x-wiki ;Description :This template is used to create a quest infobox. ;Syntax :Type <code>{{t|infobox quest|...}}</code> somewhere, with parameters as shown below. ;Sample output <pre>{{infobox quest | name = Land of Bob [defaults to pagename] | image = Image:Example.jpg | imagewidth = [defaults to 250] | caption = Bob the Flower | start = Quest A | end = Quest Z | prereqs = Quest 1 | level = Level 10-20 | location = Land of Bob | rewards = Bob's Petal | previous = Quest J | next = Quest K }}</pre> Results in... {{infobox quest | name = Land of Bob | image = Image:Example.jpg | caption = Bob the Flower | start = Quest A | end = Quest Z | prereqs = Quest 1 | level = Level 10-20 | location = Land of Bob | rewards = Bob's Petal | previous = Quest J | next = Quest K }} <includeonly>[[Category:Infobox templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> l38ho11bzsmo72o2s7inx9c98110jqj 10 1820 3302 2010-09-23T04:52:12Z Default 49312 3302 wikitext text/x-wiki :''Main article: [[{{{1}}}]]''<noinclude> {{documentation}}</noinclude> e5ls99grbmf7nstk9lzjqfnryrbnhf2 10 1930 3409 2010-09-23T04:52:12Z Default 49312 3409 wikitext text/x-wiki ;Description :This template is used at the start of a section to link to the main article on that subject. ;Syntax :Type <code>{{t|main|page name}}</code> ;Sample output :<code><nowiki>{{main|Help:Contents}}</nowiki></code> gives... :{{main|Help:Contents}} <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> mgou0bvbzc0501rfrlriw926dv19ich 10 1907 3335 2010-09-23T04:52:12Z Default 49312 3335 wikitext text/x-wiki {| style="width:100%; margin-top:1em; border:1px solid #999; font-size:90%; text-align:center;" |- ! style="background-color:#3366CC; color:#FFFFFF; padding:0.2em 0.5em;" nowrap="nowrap" | {{{header}}} |- | style="padding:0.2em 0.5em;" | {{{body}}} |}<noinclude> {{documentation}}</noinclude> tsoqn5n1z78sv0c715ghxwenmilqbbm 10 1942 3470 2010-09-23T04:52:12Z Default 49312 3470 wikitext text/x-wiki ;Description :This template is used to create a basic [[Help:Navbox|navbox]]. ;Syntax :Type <code>{{t|navbox|...}}</code> somewhere, with parameters as shown below. ;Sample output <pre>{{navbox |header=Land of Bob |body=This <nowiki>[[place]]</nowiki> and that <nowiki>[[place]]</nowiki>. }}</pre> Results in... {{navbox |header=Land of Bob |body=This <nowiki>[[place]]</nowiki> and that <nowiki>[[place]]</nowiki>. }} <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> tu4ixu1p30ry5i79izpbbmj276uj92j 10 1991 3808 2010-09-23T04:52:12Z Default 49312 3808 wikitext text/x-wiki <div style="float:right; clear:right; margin:12px 5px"><big>'''New pages'''</big><widget style="width:305px">NewPages</widget>__NOTOC__</div><noinclude>[[Category:Templates|Newpages]]</noinclude> lfywr2c8fbvb7a83jmum3w5yaqwy4og 10 1637 3504 2010-09-23T04:52:12Z Default 49312 3504 wikitext text/x-wiki <div class="boilerplate" id="c-fairuse" style="width:90%; margin:0 auto; padding:10px; border:1px solid #A8ACA8; background:#FFFFCC; color:#000;"> '''''This file does not have information on its copyright status.''''' </div><noinclude> {{documentation}}</noinclude> 42l3d3ggd47lgkzdq3122rvcpu9jur2 10 1956 3523 2010-09-23T04:52:12Z Default 49312 3523 wikitext text/x-wiki ;Description :This template is used to mark images as missing copyright info. ;Syntax :Type <code>{{t|no license}}</code> on the image information page. <includeonly>[[Category:Image wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> qoc0qrmvrle75jsd3qtqsu26vzi9fzt 10 1786 3633 2010-09-23T04:52:12Z Default 49312 3633 wikitext text/x-wiki <div class="boilerplate" id="c-fairuse" style="width:90%; margin:0 auto; padding:10px; border:1px solid #A8ACA8; background:#FFFFCC; color:#000;"> '''''This file is licensed under a free license.''''' </div><noinclude> {{documentation}}</noinclude> lncfro9oqpuyemr7vp7rjzb09a000u2 10 1951 3513 2010-09-23T04:52:12Z Default 49312 3513 wikitext text/x-wiki ;Description :This template is used to mark images with a free license not covered by other image templates. ;Syntax :Type <code>{{t|Other free}}</code> on the image information page. <includeonly>[[Category:Image wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> arhh8wckyznxvgbrndo9l607uxnbo4w 10 1492 3502 2010-09-23T04:52:12Z Default 49312 3502 wikitext text/x-wiki <div class="boilerplate" id="c-fairuse" style="width:90%; margin:0 auto; padding:10px; border:1px solid #A8ACA8; background:#FFFFCC; color:#000;"> '''''This file is in the public domain''''' </div><noinclude> {{documentation}}</noinclude> ticbbi0deizsrk81hzs81fd4ctr18nr 10 1955 3521 2010-09-23T04:52:12Z Default 49312 3521 wikitext text/x-wiki ;Description :This template is used to mark images as being in the public domain. ;Syntax :Type <code>{{t|PD}}</code> on the image information page. <includeonly>[[Category:Image wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> 7vt7amlicj3bb0dvk0lyygrr62h0xgz 10 2002 3760 2010-09-23T04:52:12Z Default 49312 3760 wikitext text/x-wiki <div style="width:300px; float:right; clear:right; border:1px solid #aaa; margin:0 0 1em 1em; padding:4px 4px 4px 10px; background:#f9f9f9; color:black;"> '''Played by:'''<br/> :'''{{{1}}}''' </div><noinclude><br style="clear:both;" /> {{documentation}}</noinclude> fp2ruu5278sww3sbzgnddd6jy63mvvy 10 2003 3761 2010-09-23T04:52:12Z Default 49312 3761 wikitext text/x-wiki ;Description :This template is used to create an small [[Help:Infobox|infobox]] to show who performs a certain character. ;Syntax :Type <code>{{t|performer|Performer}}</code> at the top of an article. The name is not automatically linked in case extra information is wanted. ;Sample output :<code><nowiki>{{performer|[[Help:Templates|Bob]]}}</nowiki></code> gives... {{performer|[[Help:Templates|Bob]]}} <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> bi2ohppommr9m7k8ra0fme2lz8uv2fw 10 1785 3634 2010-09-23T04:52:12Z Default 49312 3634 wikitext text/x-wiki <div class="boilerplate" id="c-fairuse" style="width:90%; margin:0 auto; padding:10px; border:1px solid #A8ACA8; background:#FFFFCC; color:#000;"> '''''This file is copyrighted. The copyright holder has given permission for its use.''''' </div><noinclude> {{documentation}}</noinclude> hobwg0zsg058v9lld5z37jkbhbtxehy 10 1952 3515 2010-09-23T04:52:12Z Default 49312 3515 wikitext text/x-wiki ;Description :This template is used to mark images as being copyrighted, but the copyright holder has given permission for its use. ;Syntax :Type <code>{{t|permission}}</code> on the image information page. <includeonly>[[Category:Image wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> ndppynkkz20d1ykhmy4xxq7hohlkagy 10 1910 3341 2010-09-23T04:52:12Z Default 49312 3341 wikitext text/x-wiki <div class="references-small" {{#if: {{{colwidth|}}}| style="-moz-column-width:{{{colwidth}}}; -webkit-column-width:{{{colwidth}}}; column-width:{{{colwidth}}};" | {{#if: {{{1|}}}| style="-moz-column-count:{{{1}}}; -webkit-column-count:{{{1}}}; column-count:{{{1}}} }};" |}}> <references /></div><noinclude> {{documentation}}</noinclude> 6m0rg3p111zxterblctj58gbxsddenp 10 1945 3649 2010-09-23T04:52:12Z Default 49312 3649 wikitext text/x-wiki ==Description== Use this template to create a reference list in small font for an article. Note that there is no consensus that small font size should always be used for all references; when normal-sized font is more appropriate on an article, use <code><nowiki><references /></nowiki></code> instead.<ref>I am a reference</ref> ==Syntax== Type <code>{{t|reflist|...}}</code> where you would normally type <code><nowiki><references/></nowiki></code>. If used with no parameters, it will produce a reference list with a single column. === Multiple columns === Using <code><nowiki>{{reflist|2}}</nowiki></code> will create a two-column reference list, and <code><nowiki>{{reflist|3}}</nowiki></code> will create a three-column list. Three-column lists are inaccessible to users with smaller/laptop monitors and should be avoided. Using <code><nowiki>{{reflist|colwidth=30em}}</nowiki></code> will allow the browser to automatically choose the number of columns based on the width of the web browser. Choose a column width that's appropriate for the average width of the references on the page. Note: multiple columns currently render properly only in Mozilla Firefox and other Gecko-based browsers and Safari 3, though the feature is included in CSS3 so it should work for a larger number of browsers in the future. ==Sample output== <code><nowiki>{{reflist}}</nowiki></code> gives... {{reflist}} ==CSS used== <pre> .references-small { font-size: 90%; } </pre> ==See also== *[[wikipedia:Template:Reflist|Template:Reflist]] on Wikipedia. <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> twfal5yeulzac2v1kpwy85495sj0ws4 10 1684 3268 2010-09-23T04:52:12Z Default 49312 3268 wikitext text/x-wiki <div style="border:2px dotted darkgray; margin-top:0.5em; margin-bottom:1em; padding:0 0.5em;"> Welcome to the '''{{SITENAME}} sandbox'''!<br /> This page exists so that you can practice editing or formatting (see [[Help:Editing]]) without changing any serious content. Feel free to try wiki editing out here first.<br /> There is a [[Help:Tutorial 1|tutorial]] on the Central (coordinating) Wikia that will step you through more of the things you can do. Wiki allow for rather complicated formatting. It can look overwhelming when you begin, but don't let it worry you. Just start with the basics... enter some text, and learn the other pieces as you go. Your content contributions are welcome and important. The wiki is a collaborative effort and others can help with formatting and other improvements.<br /> Best wishes! </div><noinclude> {{documentation}}</noinclude> cy6njdt015l321a2491q77ys45ttqwi 10 1920 3375 2010-09-23T04:52:12Z Default 49312 3375 wikitext text/x-wiki ;Description :This template is placed at the top of [[Help:Sandbox|sandbox]] pages. :By using a template, it becomes easy to fix if users make a mistake while playing in the sandbox. ;Syntax :Type <code>{{t|sandbox}}</code> at the top of a sandbox. <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> ff3wkds2ajjo9he4a450eb5zs65t2px 10 1788 3497 2010-09-23T04:52:12Z Default 49312 3497 wikitext text/x-wiki <div class="boilerplate" id="c-fairuse" style="width:90%; margin:0 auto; padding:10px; border:1px solid #A8ACA8; background:#FFFFCC; color:#000;"> '''''This file was uploaded by the photographer or author.''''' </div><noinclude> {{documentation}}</noinclude> 0wg4x2fx3zo96zqsn5b60yty1md633y 10 1953 3517 2010-09-23T04:52:12Z Default 49312 3517 wikitext text/x-wiki ;Description :This template is used to mark images as having been uploaded by the photographer or author. ;Syntax :Type <code>{{t|self}}</code> on the image information page. <includeonly>[[Category:Image wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> 56xwldid082y7fcwsxqh2d518q547ju 10 2004 3803 2010-09-23T04:52:12Z Default 49312 3803 wikitext text/x-wiki <small>—This unsigned comment was made by [[User:{{{1}}}|{{{1}}}]] ([[User talk:{{{1}}}|talk]] • [[Special:Contributions/{{{1}}}|contribs]]) {{{2|}}}. Please sign talk pages and forum posts with four tildes: <nowiki>~~~~</nowiki>. [[Special:userlogin|Log in]] to keep track of your comments and maintain your identity on the wiki.</small><noinclude><br> '''Usage:''' (replace highlighted items) <nowiki>{{subst:sign|</nowiki><font color="blue">username or IP</font><nowiki>|</nowiki><font color="blue">date</font><nowiki>}}</nowiki></noinclude><noinclude>[[Category:Templates|Sign]]</noinclude> 41ud23coxw769uh16c1295176lmte6s 10 1881 3814 2010-09-23T04:52:12Z Default 49312 3814 wikitext text/x-wiki #REDIRECT [[Template:Delete]] 2iaip0k2kcll5ahaerjw4w6esz93tva 10 2005 3763 2010-09-23T04:52:12Z Default 49312 3763 wikitext text/x-wiki {| style="text-align:center; background:#D3E1F2; color:#000; border:1px solid #AAA; margin-bottom:10px;" cellpadding=8 |- | '''Spoiler warning!'''<br/>This article contains plot details about an upcoming episode. |}<noinclude> {{documentation}}</noinclude> te36re35qsnvmzyvwcnywv128pm128n 10 2006 3764 2010-09-23T04:52:12Z Default 49312 3764 wikitext text/x-wiki ;Description :This template is used to mark a page as having major spoilers. This should only be used on a wiki if most users wish to see it. ;Syntax :Type <code>{{t|spoiler}}</code> somewhere. ;Sample output :<code><nowiki>{{spoiler}}</nowiki></code> gives... {{spoiler}} <includeonly>[[Category:Article management templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> 2nlp9g5eof2kkjdycvsnedl6zdkxqq9 10 2129 3968 2024-08-28T17:16:39Z FANDOMbot 32794352 Imported default template 3968 wikitext text/x-wiki {| style="border-radius: 10px; margin: 0 auto;" class="cquote" | width="15" valign="top" style="color: var(--theme-link-color); font-size: 36px; font-family: 'Times New Roman', serif; font-weight: bold; text-align: left; padding: 10px;" | “ | style="padding: 4px 2px; font-style: italic;" | {{{text|Text...}}} | width="15" valign="bottom" style="color: var(--theme-link-color); font-size: 36px; font-family: 'Times New Roman', serif; font-weight: bold; text-align: right; padding: 10px;" | ” |- {{#if: {{{speaker|}}}{{{receiver|}}}{{{attribution|}}}{{{source|}}}| {{!}} colspan="4" style="padding-top: 0.1em" {{!}} {{#if:{{{speaker|}}}|<p style="text-align: right"><cite>—{{{speaker}}}{{#if:{{{receiver|}}}|, to {{{receiver|}}}}}{{#if:{{{attribution|}}}|, {{{attribution|}}}}}{{#if:{{{source|}}}|, {{{source|}}}}}</cite></p>}} }} |} <noinclude>{{Documentation}}</noinclude> 7p881bc8bucoleu5jlw1ob89uxv3flb 3969 3968 2024-09-19T11:50:41Z FANDOMbot 32794352 Updated default StructuredQuotes template. See https://community.fandom.com/wiki/Help:Structured_Quotes for more details. 3969 wikitext text/x-wiki <blockquote class="pull-quote"> <div style="pull-quote_text>{{{text|Text...}}}</div> <p style="text-align: right"><cite>—{{{speaker|speaker}}}{{#if:{{{receiver|}}}|, to {{{receiver|}}}}}{{#if:{{{attribution|}}}|, {{{attribution|}}}}}{{#if:{{{source|}}}|, {{{source|}}}}}</cite></p> </blockquote> <noinclude> {{#if:{{PROTECTIONEXPIRY:edit | Template:StructuredQuote/doc }} | {{Documentation}} | }} </noinclude> 4sm7qh2pbsnyphkhh1ylhvyy27diyaf 3970 3969 2024-10-21T13:29:22Z FANDOMbot 32794352 Updated default StructuredQuote template. See https://community.fandom.com/wiki/Help:Structured_Quotes for more details. 3970 wikitext text/x-wiki <blockquote class="pull-quote"> <div class="pull-quote__text">{{{text|Text...}}}</div> <p style="text-align: right"><cite>—{{{speaker|speaker}}}{{#if:{{{receiver|}}}|, to {{{receiver|}}}}}{{#if:{{{attribution|}}}|, {{{attribution|}}}}}{{#if:{{{source|}}}|, {{{source|}}}}}</cite></p> </blockquote> <noinclude> ==Description== A template used for displaying Structured Quotes ( ''<nowiki>{{#SQuote:}}</nowiki>'' ). If you want to unlock the full potential of Structured Quotes, please avoid using this template directly, and consider ''<nowiki>{{#SQuote:}}</nowiki>'' markup instead. See https://community.fandom.com/wiki/Help:Structured_Quotes for extra information about Structured Quotes. ==Syntax== <pre> {{StructuredQuote | text = | speaker = | receiver = | attribution = | source = }} </pre> ==Samples== {{StructuredQuote |text=Size matters not. Look at me. Judge me by my size, do you? Hmm? Hmm. And well you should not. (...) |speaker=[[Yoda]] |receiver=[[Luke Skywalker]] |source=[[Star Wars: Episode V The Empire Strikes Back]] }} <pre> {{StructuredQuote |text=Size matters not. Look at me. Judge me by my size, do you? Hmm? Hmm. And well you should not. (...) |speaker=[[Yoda]] |receiver=[[Luke Skywalker]] |source=[[Star Wars: Episode V The Empire Strikes Back]] }} </pre> == TemplateData == <templatedata> { "params": { "text": { "label": "Quote text", "description": "quote text", "type": "content", "required": true }, "speaker": { "label": "Person(s) quoted", "description": "individual(s) who uttered or wrote the quoted words (wikitext links, comma-separated)", "type": "content", "required": true }, "receiver": { "label": "Person(s) to whom the quote was spoken", "description": "person the quote was spoken to (wikitext links, comma-separated)", "type": "content", "suggested": true }, "attribution": { "label": "Attribution(s)", "description": "attribution (wikitext links, comma-separated)", "type": "content", "suggested": true }, "source": { "label": "Quote source", "description": "place where it was spoken (wikitext link)", "type": "content", "suggested": true } }, "format": "block" } </templatedata> </noinclude> oo5b57fo2xd1mceyzo6sr5v16rl78qn 3971 3970 2024-11-07T19:43:04Z FANDOMbot 32794352 Updated default StructuredQuote template. See https://community.fandom.com/wiki/Help:Structured_Quotes for more details. 3971 wikitext text/x-wiki <blockquote class="pull-quote"> <div class="pull-quote__text">{{{text|Text...}}}</div> <p style="text-align: right"><cite>—{{{speaker|speaker}}}{{#if:{{{receiver|}}}|, to {{{receiver|}}}}}{{#if:{{{attribution|}}}|, {{{attribution|}}}}}{{#if:{{{source|}}}|, {{{source|}}}}}</cite></p> </blockquote> <noinclude> ==Description== A template used for displaying Structured Quotes ( ''<nowiki>{{#SQuote:}}</nowiki>'' ). If you want to unlock the full potential of Structured Quotes, please avoid using this template directly, and consider ''<nowiki>{{#SQuote:}}</nowiki>'' markup instead. See https://community.fandom.com/wiki/Help:Structured_Quotes for extra information about Structured Quotes. ==Syntax== <pre> {{StructuredQuote | text = | speaker = | receiver = | attribution = | source = }} </pre> ==Samples== {{StructuredQuote |text=Size matters not. Look at me. Judge me by my size, do you? Hmm? Hmm. And well you should not. (...) |speaker=[[w:c:en.starwars:Yoda|Yoda]] |receiver=[[w:c:en.starwars:Luke_Skywalker|Luke Skywalker]] |source=[[w:c:en.starwars:Star_Wars:_Episode_V_The_Empire_Strikes_Back|Star Wars: Episode V The Empire Strikes Back]] }} <pre> {{StructuredQuote |text=Size matters not. Look at me. Judge me by my size, do you? Hmm? Hmm. And well you should not. (...) |speaker=[[Yoda]] |receiver=[[Luke Skywalker]] |source=[[Star Wars: Episode V The Empire Strikes Back]] }} </pre> == TemplateData == <templatedata> { "params": { "text": { "label": "Quote text", "description": "quote text", "type": "content", "required": true }, "speaker": { "label": "Person(s) quoted", "description": "individual(s) who uttered or wrote the quoted words (wikitext links, comma-separated)", "type": "content", "required": true }, "receiver": { "label": "Person(s) to whom the quote was spoken", "description": "person the quote was spoken to (wikitext links, comma-separated)", "type": "content", "suggested": true }, "attribution": { "label": "Attribution(s)", "description": "attribution (wikitext links, comma-separated)", "type": "content", "suggested": true }, "source": { "label": "Quote source", "description": "place where it was spoken (wikitext link)", "type": "content", "suggested": true } }, "format": "block" } </templatedata> </noinclude> t808cx5iy65gb6scx67s6giyg81ape0 3972 3971 2024-11-14T19:57:32Z FANDOMbot 32794352 Updated default StructuredQuote template. See https://community.fandom.com/wiki/Help:Structured_Quotes for more details. 3972 wikitext text/x-wiki <blockquote class="pull-quote"> <div class="pull-quote__text">{{{text|Text...}}}</div> <p style="text-align: right"><cite>—{{{speaker|speaker}}}{{#if:{{{receiver|}}}|, to {{{receiver|}}}}}{{#if:{{{attribution|}}}|, {{{attribution|}}}}}{{#if:{{{source|}}}|, {{{source|}}}}}</cite></p> </blockquote> <noinclude> ==Description== A template used for displaying Structured Quotes ( ''<nowiki>{{#SQuote:}}</nowiki>'' ). If you want to unlock the full potential of Structured Quotes, please avoid using this template directly, and consider ''<nowiki>{{#SQuote:}}</nowiki>'' markup instead. See https://community.fandom.com/wiki/Help:Structured_Quotes for extra information about Structured Quotes. ==Syntax== <pre> {{StructuredQuote | text = | speaker = | receiver = | attribution = | source = }} </pre> ==Samples== {{StructuredQuote |text=Size matters not. Look at me. Judge me by my size, do you? Hmm? Hmm. And well you should not. (...) |speaker=[[w:c:en.starwars:Yoda|Yoda]] |receiver=[[w:c:en.starwars:Luke_Skywalker|Luke Skywalker]] |source=[[w:c:en.starwars:Star_Wars:_Episode_V_The_Empire_Strikes_Back|Star Wars: Episode V The Empire Strikes Back]] }} <pre> {{StructuredQuote |text=Size matters not. Look at me. Judge me by my size, do you? Hmm? Hmm. And well you should not. (...) |speaker=[[Yoda]] |receiver=[[Luke Skywalker]] |source=[[Star Wars: Episode V The Empire Strikes Back]] }} </pre> == TemplateData == <templatedata> { "params": { "text": { "label": "Quote text", "description": "quote text", "type": "content", "required": true }, "speaker": { "label": "Person(s) quoted", "description": "individual(s) who uttered or wrote the quoted words (wikitext links, comma-separated)", "type": "content", "required": true }, "receiver": { "label": "Person(s) to whom the quote was spoken", "description": "person the quote was spoken to (wikitext links, comma-separated)", "type": "content", "suggested": true }, "attribution": { "label": "Attribution(s)", "description": "attribution (wikitext links, comma-separated)", "type": "content", "suggested": true }, "source": { "label": "Quote source", "description": "place where it was spoken (wikitext link)", "type": "content", "suggested": true } }, "format": "block" } </templatedata> </noinclude> 5gtdrd3qkchyra4j769eptz3qivs29m 10 1775 3128 2010-09-23T04:52:12Z Default 49312 3128 wikitext text/x-wiki :<div class="notice metadata plainlinks" id="stub">''This article is a [[:Category:Article stubs|stub]]. You can help {{SITENAME}} by [{{fullurl:{{FULLPAGENAME}}|action=edit}} expanding it].''</div><includeonly>[[Category:Article stubs]]</includeonly><noinclude> {{documentation}}</noinclude> qd181f2fh4mj2rwlyn6qhamoldna6k7 10 1898 3198 2010-09-23T04:52:12Z Default 49312 3198 wikitext text/x-wiki ;Description :This template will categorize articles that include it into [[:Category:Article stubs]], and mark it with a stub template. ;Syntax :Type <code>{{t|stub}}</code> at the start or end of an article. <includeonly>[[Category:Article management templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> l4phzf7rk6e7s90sjysrx5j4izd305c 10 1808 3179 2010-09-23T04:52:12Z Default 49312 3179 wikitext text/x-wiki <nowiki>{{</nowiki>[[Template:{{{1}}}|{{{1}}}]]{{t/piece|{{{2|---}}}}}{{t/piece|{{{3|---}}}}}{{t/piece|{{{4|---}}}}}{{t/piece|{{{5|---}}}}}{{t/piece|{{{6|---}}}}}{{t/piece|{{{7|---}}}}}{{t/piece|{{{8|---}}}}}{{t/piece|{{{9|---}}}}}{{t/piece|{{{10|---}}}}}{{t/piece|{{{11|---}}}}}{{t/piece|{{{12|---}}}}}{{t/piece|{{{13|---}}}}}{{t/piece|{{{14|---}}}}}{{t/piece|{{{15|---}}}}}{{t/piece|{{{16|---}}}}}{{t/piece|{{{17|---}}}}}{{t/piece|{{{18|---}}}}}{{t/piece|{{{19|---}}}}}{{t/piece|{{{20|---}}}}}{{t/piece|{{{21|---}}}}}<nowiki>}}</nowiki><noinclude> {{documentation}}</noinclude> d49se9v498od26tkx7br49dfrf6ywnj 10 1936 3439 2010-09-23T04:52:12Z Default 49312 3439 wikitext text/x-wiki ;Description :A template link with a variable number of example parameters (0-20), which can be used to show example inputs. :Utilises [[Template:T/piece]]. ;Syntax :{{t|t|parameter1|parameter2|parameter3|parameter4|...|parameter20}} ;Sample code :<code><nowiki>{{t|welcome}}</nowiki></code> gives... :{{t|welcome}} :<code><nowiki>{{t|welcome|Item1|Item2|Item3|Item4|Item5|...}}</nowiki></code> gives... :{{t|welcome|Item1|Item2|Item3|Item4|Item5|...}} ;See also :[[w:c:wow:Template:T|Template:T]] on WoWWiki <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> trznb5zu0qkahiej544uc26um3271t0 10 1809 3181 2010-09-23T04:52:12Z Default 49312 3181 wikitext text/x-wiki {{#ifeq: {{{1|---}}}|---||&#124;<font color="gray">''&lt;{{{1}}}&gt;''</font>}}<noinclude> {{documentation}}</noinclude> 0nlvv42vk9pm1aj0vzrprgsdclrzhsu 10 1937 3444 2010-09-23T04:52:12Z Default 49312 3444 wikitext text/x-wiki ;Description :Parameter piece for {{t|t}}, controls styling/showing of parameter fragments. ;See also :[[w:c:wow:Template:T/piece|Template:T/piece]] on WoWWiki <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> sqg7b26j4fufgsrttf95v2mnueva1ch 10 2007 3765 2010-09-23T04:52:12Z Default 49312 3765 wikitext text/x-wiki <div style="text-align: center; margin: 0 10%; padding-bottom: 10px;"> {| style="background: #D3E1F2; border: 1px solid #aaa; margin: 0 auto;" cellpadding=8 |- | This discussion is listed as an [[:Category:Active Talk Pages|Active Talk Page]].<br>Please remove this template when the question has been answered. |}</div> <includeonly> [[Category:Active Talk Pages| ]] </includeonly><noinclude>[[Category:Templates|Talk]]</noinclude> fyp9nufr15kyw6tr9vxh2vc7by6e183 10 1912 3349 2010-09-23T04:52:12Z Default 49312 3349 wikitext text/x-wiki <span style="font-weight:bold; font-size:120%; border-bottom:1px dotted;">[{{fullurl:{{FULLPAGENAMEE}}|action=edit&section=new}} {{{1|Start a new discussion!}}}]</span><noinclude> {{documentation}}</noinclude> fe3gaw3jsl6t5mducpeh422ps5nle2h 10 1947 3484 2010-09-23T04:52:12Z Default 49312 3484 wikitext text/x-wiki ;Description :This template is used to create a link to start a new discussion. It is especially useful in areas that newbies commonly frequent. ;Syntax :Type <code>{{t|talkcreate}}</code> wherever you wish the link to appear. You can add an optional second parameter to change the link text. ;Sample output :<code><nowiki>{{talkcreate}}</nowiki></code> gives... :{{talkcreate}} :<code><nowiki>{{talkcreate|Spout your views!}}</nowiki></code> gives... :{{talkcreate|Spout your views!}} <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> r8hlk5ompxtfy33ij7qf6ht0gy28vy7 10 1909 3339 2010-09-23T04:52:12Z Default 49312 3339 wikitext text/x-wiki {| style="width:80%; margin:0 auto 1em auto; border: 1px solid #aaaaaa; background-color:#f9f9f9; color:#000;" align="center" cellpadding="4" |- ! colspan="2" style="text-align:center; font-size:120%; background-color:#3366CC; color:#ffffff;" | {{#ifeq:{{NAMESPACE}}|User talk| This is [[{{SUBJECTPAGENAME}}|{{PAGENAME}}]]'s talk page, where you can leave messages and comments for {{PAGENAME}}. | This is the talk page for discussing {{{1|improvements to the [[:{{SUBJECTPAGENAME}}]] article}}}. }} |- | * '''[[Help:Signature|Please sign and date your posts]]''' by typing four tildes (<tt><nowiki>~~~~</nowiki></tt>). * '''Put new text under old text.''' [{{fullurl:{{TALKPAGENAMEE}}|action=edit&section=new}} Click here to start a new topic]. * If you're new to the wiki, please take a look at the '''[[Help:Talk page|talk page help]]'''. | class="title" style="text-align:left;" | *Be polite *Assume good faith *Be welcoming |}<noinclude> {{documentation}}</noinclude> fx3v3qvotgcizjrx2yhpe0qkzpm57xo 10 1944 3475 2010-09-23T04:52:12Z Default 49312 3475 wikitext text/x-wiki ;Description :This template is used at the top of popular talk pages to aid new users and to ensure that topics don't go too far off-topic. ;Syntax :Type <code>{{t|talkheader}}</code> at the very top of a talk page. ;Sample output :<code><nowiki>{{talkheader}}</nowiki></code> gives... {{talkheader}} <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> ouo3449m5lrjl5g5zvlh37w90ik1pcv 10 1803 3637 2010-09-23T04:52:12Z Default 49312 3637 wikitext text/x-wiki ==Using this category== To put a template in '''Category:{{PAGENAME}}''': * Use <code><nowiki><includeonly>[[Category:</nowiki>{{PAGENAME}}<nowiki>|{{PAGENAME}}]]</includeonly></nowiki></code> on the documentation page (see [[Template:Documentation]] for more info). The "&lt;includeonly&gt;" tags are necessary to prevent categorizing all pages using the template (and the documentation page) in the template category! Please also note the <tt style="border-bottom: 1px dotted; cursor: help;" title="Makes it sort on the actual template name rather than 'T' as in 'Template:'."><nowiki>|{{PAGENAME}}</nowiki></tt>. * If your template is meant to be '''used in-line''', try and make sure that there are as few line feeds (breaks, whitespace, etc.) as possible. * Remember that a template can be put in multiple categories if it belongs to them all! * Or, if this is not quite the right category, go back to [[:Category:Templates]] and try to find a better suited subcategory.<noinclude> {{documentation}}</noinclude> er86wj0fizrd9pa29wwukyld8nm7ody 10 1903 3233 2010-09-23T04:52:12Z Default 49312 3233 wikitext text/x-wiki ;Description :This template is used in subcategories of [[:Category:Templates]]. ;Syntax :To use the template, type a short description of the template category followed by <code>{{t|templatecategory}}</code>. <includeonly>[[Category:Category templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> ibslfy3ls6zwp457l5eq79mroljy43u 10 1860 3183 2010-09-23T04:52:12Z Default 49312 3183 wikitext text/x-wiki <div style="float:right; clear:{{{clear|right}}}; margin-bottom:.5em; padding:.5em 0 .8em 1.4em; background:transparent; max-width:20em;">__TOC__</div><noinclude> {{documentation}}</noinclude> 5kzj5sbeg732yvt806r9aetctcvs8qk 10 1931 3411 2010-09-23T04:52:12Z Default 49312 3411 wikitext text/x-wiki ;Description :This template will float the article's table of contents to the right. It will also force a ToC when/where it would not normally be found. :Use it only when needed. ;Syntax :Type <code>{{t|tocright}}</code> <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> qtkn2hau54lnqg3ypdbwr7q7o882qhn 10 1799 3287 2010-09-23T04:52:12Z Default 49312 3287 wikitext text/x-wiki <small>—Preceding unsigned comment added by [[User:{{{1}}}|{{{1}}}]] ([[User talk:{{{1}}}|talk]] • [[Special:Contributions/{{{1}}}|contribs]]) {{{2|}}}</small><noinclude> {{documentation}}</noinclude> 0wkd6h5fd8hhnteenehgmogrmlms108 10 1926 3847 2010-09-23T04:52:12Z Default 49312 3847 wikitext text/x-wiki ;Description :This is for use when users do not sign their posts in talk pages. ;Syntax :Type <code>{{t|unsigned|username}}</code> where "username" is the name of the user who did not sign their post. You can also add the current date via a third parameter. ;Sample output :<code><nowiki>{{unsigned|Default}}</nowiki></code> gives... :{{unsigned|Default}} :<code><nowiki>{{unsigned|Default|~~~~~}}</nowiki></code> gives... :{{unsigned|Default|12:01, 01 January 2010 (UTC)}} <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> ehvz599fu2uyovrtcibsesuf7mdt092 10 1872 2964 2010-09-23T04:52:12Z Default 49312 2964 wikitext text/x-wiki #REDIRECT [[template:welcomeIP]] <!-- this shorter version is for people in a hurry --> jdf8fyi8esz7mlezn4hot6ofi4ftyzi 10 1673 3645 2010-09-23T04:52:12Z Default 49312 3645 wikitext text/x-wiki <h2>Hi there!</h2> [[Image:Example.jpg|thumb|Welcome!]] '''Welcome to our wiki, and thank you for your contributions! There's a lot to do around here, so I hope you'll stay with us and make many more improvements.''' :'''[[Special:Recentchanges|Recent changes]]''' is a great first stop, because you can see what pages other people have been editing, and where you can help. :'''Questions?''' You can ask at the [[Forum:Help desk|Help desk]] or on the [[Help:Talk pages|"discussion" page]] associated with each article, or post a message on [[User talk:{{{1}}}|my talk page]]! :'''Need more help?''' The [[Project:Community Portal|Community Portal]] has an outline of the site and links to pages to help you learn how to edit. :'''Please [[Special:UserLogin|sign in]] every time you edit''', so that we can recognise an established user. I'm really happy to have you here, and look forward to working with you! {{{2|}}}<noinclude> {{documentation}}</noinclude> okqgnr0b2pdi45g9432fey5pcgxd0rj 10 1927 3398 2010-09-23T04:52:12Z Default 49312 3398 wikitext text/x-wiki ;Description :To welcome a new contributor who has a user name, add this to the user's talk page. :''For an "anonymous" contributor, you may wish to use {{t|welcomeIP}} instead.'' ;Syntax :Type <code><nowiki>{{subst:welcome|</nowiki>''Your user name''|''<nowiki>~~~~</nowiki>''}}</code> or <code><nowiki>{{subst:welcome|</nowiki>''Your user name''}}</code> on a user's talk page. :Use the second version if you want to add a personal message after the template, but before your [[Help:Signature|signature]] (or if you have a complex signature). :As soon as you Save, the entry will lose its link to the template and become ordinary text, which you can edit to personalise it. ==Further advice== ===Use of "subst:" prefix=== Using the prefix before any template name copies the template then cuts the connection. If you omit the "subst:" the result copies just the same but will not be editable and will always show the current version of the template - probably not a good idea for a one-off welcoming message, although it is useful for many other templates. ===Edit it to make it more specific to this wiki=== For example, it could say "Welcome to the '''<font color=blue>XYZWV Wiki</font>'''". You could add a link to a page you particularly want new users to look at. You could use the "upload file" link to add a new picture that is meaningful (or funny!) to your visitors, and change the code <nowiki>[[Image:Example.jpg]]</nowiki> to the name of your new picture. ===Make another one just for you to use=== On your user page you could create a link to something like <nowiki>[[Template:welcJG]]</nowiki> then make the resulting page a copy of [[Template:Welcome]] and modify it any way you like. Then you can type or paste <nowiki>{{subst:welcJG}}</nowiki> on a newcomer's page and not need further personalising. ===Auto sign=== You can get the template to automatically include the user's signature, but it will only work when it's substituted. If it's transcluded the four tildes will show. I guess you have to weigh up the advantages and disadvantages; you can easily include the subst: code in [[MediaWiki:Newarticletext]], but you run the risk of experienced users just transcluding it. ===PAGENAME=== A good idea is to include the <code><nowiki>{{PAGENAME}}</nowiki></code> magic word, that way the user feels like it's more of a personal welcome. This can be either directly transcluded, or substituted. There are problems with both options. For direct transclusion, the welcome will show the full pagename (e.g. User talk:Name/Archive2), if it's ever archived. For substitution, the whole template needs to be substituted for it to work. Otherwise, the pagename magic word will show. The same problem is faced as with auto signing; more experienced users are likely to just transclude it. <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> t8o3oiesfljzchvzke157lm1xvl5vlv 10 1782 3646 2010-09-23T04:52:12Z Default 49312 3646 wikitext text/x-wiki <h2>Hi there!</h2> [[Image:Example.jpg|thumb|Welcome!]] '''Welcome to this Wikia, and thank you for your contributions! [[Special:UserLogin|We invite you to log in and create a user name.]]''' [[Help:Why create an account|Creating a user name]] is free and takes only a minute ''and'' it gives you greater '''anonymity''' if that is your wish. In addition, it is easier for other contributors to ask you questions and help you. *Of course, we hope you continue to make contributions, even if not logged in. *If you are new to Wikia or wikis in general, please visit the [[Project:Community Portal|Community portal]] for an outline of some of the main parts of the site and links to pages that show you how to edit. *Discussion of any aspect of the site, and enquiries, can be made at the [[Forum:Index|Forum]] or on the [[Help:Talk pages|"discussion" page]] associated with each article. Please [[Help:Signature|sign and date]] your contributions there, so that readers know "who to talk to" and whether your message is probably still of current interest. <noinclude> {{documentation}}</noinclude> 6siir02fmb7ixzbi54iuyc8rtztukp0 10 1928 3400 2010-09-23T04:52:12Z Default 49312 3400 wikitext text/x-wiki ;Description :The above template is for adding to the [[help:Talk page|Talk page]] of any contributor who is identified only by an IP number. :Note: as user IPs can change regularly, the earlier this is posted after the user's last edit, the better. ;Syntax :Just type or paste <code><nowiki>{{subst:welcomeIP}}</nowiki></code> to the IP's talk page and add your timestamp (four tildes: <code><nowiki>~~~~</nowiki></code>) below it. <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> ngvcfuavbh9olgo38ert5ci82gc2y3k 10 1520 3815 2010-09-23T04:52:12Z Default 49312 3815 wikitext text/x-wiki {| align=center border=0 cellpadding=3 cellspacing=3 style="border: 1px solid #E0E0E0; background-color: #F8F8F8; color:black;" |- | style="font-size: 90%" | This page uses [[w:Wikia:Licensing|Creative Commons Licensed]] content from [[Wikipedia:{{{1|{{FULLPAGENAME}}}}}|Wikipedia]] ([http://en.wikipedia.org/w/index.php?title={{urlencode:{{{1|{{FULLPAGENAME}}}}}}}&action=history view authors)]. |}<noinclude> {{documentation}}</noinclude> i7mvmrbot6igbdi267bkyu1dv2k23j2 10 1922 3380 2010-09-23T04:52:12Z Default 49312 3380 wikitext text/x-wiki ;Description :Use this on pages which directly use [[wikipedia:|Wikipedia]] content (that has since been deleted from Wikipedia). ;Syntax :Type <code>{{t|wikipedia-deleted|usernames}}</code> as the last item of the page text. :Note that "<code>usernames</code>" should be the known user names of the main people who edited the article ''on Wikipedia''. <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> bl183ye254jpt2auzmhvoo9lx942wsc 10 1921 3377 2010-09-23T04:52:12Z Default 49312 3377 wikitext text/x-wiki ;Description :Use this on pages which directly use [[wikipedia:|Wikipedia]] content. ;Syntax :Type <code>{{t|wikipedia|page name}}</code> as the last item of the page text. :Note that "<code>page name</code>" should be the title of the page ''on Wikipedia''. <includeonly>[[Category:General wiki templates|{{PAGENAME}}]]</includeonly><noinclude>[[Category:Template documentation|{{PAGENAME}}]]</noinclude> s06jci0kcihqge5psp9zttxq2o1ymnn 11 1863 2935 2010-09-23T04:52:12Z Default 49312 2935 wikitext text/x-wiki {{Infobox |Box title = Info Title |Image file = Example.jpg |Image size = 125 |Row 1 title = Title row 1 |Row 1 info = Info row 1 |Row 2 title = Title row 2 |Row 2 info = Info row 2 |Row 3 title = Title row 3 |Row 3 info = Info row 3 |Row 4 title = Title row 4 |Row 4 info = Info row 4 |Row 5 title = Title row 5 |Row 5 info = Info row 5 |Row 6 title = Title row 6 |Row 6 info = Info row 6 |Row 7 title = Title row 7 |Row 7 info = Info row 7 |Row 8 title = Title row 8 |Row 8 info = Info row 8 |Row 9 title = Title row 9 |Row 9 info = Info row 9 |Row 10 title = Title row 10 |Row 10 info = Info row 10 }} Complete Infobox:<br> <code>'''<nowiki>{{</nowiki>Infobox'''<br /> '''|'''Box title = Info Title<br /> '''|'''Image file = sample.jpg<br /> '''|'''Image size = 125<br /> '''|'''Row 1 title = Title row 1<br /> '''|'''Row 1 info = Info row 1<br /> '''|'''Row 2 title = Title row 2<br /> '''|'''Row 2 info = Info row 2<br /> '''|'''Row 3 title = Title row 3<br /> '''|'''Row 3 info = Info row 3<br /> '''|'''Row 4 title = Title row 4<br /> '''|'''Row 4 info = Info row 4<br /> '''|'''Row 5 title = Title row 5<br /> '''|'''Row 5 info = Info row 5<br /> '''|'''Row 6 title = Title row 6<br /> '''|'''Row 6 info = Info row 6<br /> '''|'''Row 7 title = Title row 7<br /> '''|'''Row 7 info = Info row 7<br /> '''|'''Row 8 title = Title row 8<br /> '''|'''Row 8 info = Info row 8<br /> '''|'''Row 9 title = Title row 9<br /> '''|'''Row 9 info = Info row 9<br /> '''|'''Row 10 title = Title row 10<br /> '''|'''Row 10 info = Info row 10<br /> '''<nowiki>}}</nowiki>'''</code> <br><br><br><br><br><br> {{Infobox |Box title = Info Title |Row 1 title = Title row 1 |Row 1 info = Info row 1 |Row 2 title = Title row 2 |Row 2 info = Info row 2 |Row 3 title = Title row 3 |Row 3 info = Info row 3 |Row 4 title = Title row 4 |Row 4 info = Info row 4 |Row 5 title = Title row 5 |Row 5 info = Info row 5 |Row 6 title = Title row 6 |Row 6 info = Info row 6 |Row 7 title = Title row 7 |Row 7 info = Info row 7 |Row 8 title = Title row 8 |Row 8 info = Info row 8 |Row 9 title = Title row 9 |Row 9 info = Info row 9 |Row 10 title = Title row 10 |Row 10 info = Info row 10 }} Infobox '''Image''' omitted :<br> <code>'''<nowiki>{{</nowiki>Infobox'''<br /> '''|'''Box title = Info Title<br /> '''|'''Row 1 title = Title row 1<br /> '''|'''Row 1 info = Info row 1<br /> '''|'''Row 2 title = Title row 2<br /> '''|'''Row 2 info = Info row 2<br /> '''|'''Row 3 title = Title row 3<br /> '''|'''Row 3 info = Info row 3<br /> '''|'''Row 4 title = Title row 4<br /> '''|'''Row 4 info = Info row 4<br /> '''|'''Row 5 title = Title row 5<br /> '''|'''Row 5 info = Info row 5<br /> '''|'''Row 6 title = Title row 6<br /> '''|'''Row 6 info = Info row 6<br /> '''|'''Row 7 title = Title row 7<br /> '''|'''Row 7 info = Info row 7<br /> '''|'''Row 8 title = Title row 8<br /> '''|'''Row 8 info = Info row 8<br /> '''|'''Row 9 title = Title row 9<br /> '''|'''Row 9 info = Info row 9<br /> '''|'''Row 10 title = Title row 10<br /> '''|'''Row 10 info = Info row 10<br /> '''<nowiki>}}</nowiki>'''</code> <br><br> {{Infobox |Box title = Info Title |Row 1 title = Title row 1 |Row 1 info = Info row 1 |Row 2 title = Title row 2 |Row 2 info = Info row 2 |Row 3 title = Title row 3 |Row 3 info = Info row 3 }} Infobox '''Image''' omitted and displaying only 3 rows of information:<br> <code>'''<nowiki>{{</nowiki>Infobox'''<br /> '''|'''Box title = Info Title<br /> '''|'''Row 1 title = Title row 1<br /> '''|'''Row 1 info = Info row 1<br /> '''|'''Row 2 title = Title row 2<br /> '''|'''Row 2 info = Info row 2<br /> '''|'''Row 3 title = Title row 3<br /> '''|'''Row 3 info = Info row 3<br /> '''<nowiki>}}</nowiki>'''</code> <br><br> {{Infobox |Box title = Info Title |Row 1 title = Title row 1 |Row 1 info = Info row 1 |Row 2 title = Title row 2 |Row 2 info = Info row 2 |Row 3 title = Title row 3 |Row 3 info = Info row 3 |Row 4 info = Info row 4 |Row 5 title = Title row 5 |Row 5 info = Info row 5 |Row 6 title = Title row 6 |Row 6 info = Info row 6 }} Infobox '''Image''' and '''title row 4''' omited:<br> Result: Row 4, 5, and 6 will not be displayed.<br> <code>'''<nowiki>{{</nowiki>Infobox'''<br /> '''|'''Box title = Info Title<br /> '''|'''Row 1 title = Title row 1<br /> '''|'''Row 1 info = Info row 1<br /> '''|'''Row 2 title = Title row 2<br /> '''|'''Row 2 info = Info row 2<br /> '''|'''Row 3 title = Title row 3<br /> '''|'''Row 3 info = Info row 3<br /> '''|'''Row 4 info = Info row 4<br /> '''|'''Row 5 title = Title row 5<br /> '''|'''Row 5 info = Info row 5<br /> '''|'''Row 6 title = Title row 6<br /> '''|'''Row 6 info = Info row 6<br /> '''<nowiki>}}</nowiki>'''</code> ofda1y3lcsqwkcv2o7i83z5vyjmgda4 11 1674 3054 2010-09-23T04:52:12Z Default 49312 3054 wikitext text/x-wiki ==How to use the template== Just type or copy the text <nowiki>{{subst:welcome|YourUsername |~~~~}}</nowiki> onto a user's Talk page then add your signature. As soon as you Save, the entry will lose its link to the template and become ordinary text, which you can edit to personalise it. ==Use of "subst:" prefix== Using the prefix before any template name copies the template then cuts the connection. If you omit the "subst:" the result copies just the same but will not be editable and will always show the current version of the template - probably not a good idea for a one-off welcoming message, although it is useful for many other templates. ==Edit it to make it more specific to this wiki== For example, it could say "Welcome to the '''<font color=blue>XYZWV Wiki</font>'''". You could add a link to a page you particularly want new users to look at. You could use the "upload file" link to add a new picture that is meaningful (or funny!) to your visitors, and change the code <nowiki>[[Image:Example.jpg]]</nowiki> to the name of your new picture. ==Make another one just for you to use== On your user page you could create a link to something like <nowiki>[[template:welcJG]]</nowiki> then make the resulting page a copy of [[template:welcome]] and modify it any way you like. Then you can type or paste <nowiki>{{subst:welcJG}}</nowiki> on a newcomer's page and not need further personalising. == Auto sign == You can get the template to automatically include the user's signature, but it will only work when it's substituted. If it's transcluded the four tildes will show. I guess you have to weigh up the advantages and disadvantages; you can easily include the subst: code in [[MediaWiki:Newarticletext]], but you run the risk of experienced users just transcluding it. == PAGENAME == A good idea is to include the <nowiki>{{PAGENAME}}</nowiki> magic word, that way the user feels like it's more of a personal welcome. This can be either directly transcluded, or substituted. There are problems with both options. For direct transclusion, the welcome will show the full pagename (e.g. User talk:Name/Archive2), if it's ever archived. For substitution, the whole template needs to be substituted for it to work. Otherwise, the pagename magic word will show. The same problem is faced as with auto signing; more experienced users are likely to just transclude it. [[Category:Help]] lpb98r4b3qxrq7io0476a5egm54bqjb 12 2015 3824 2010-09-23T04:52:12Z Default 49312 3824 wikitext text/x-wiki #REDIRECT [[Help:Wiki-style forums]] hfmlpjkqnvtpl68zhiecc73ion81pqk 14 1816 2803 2010-09-23T04:52:12Z Default 49312 2803 wikitext text/x-wiki Templates to aid in '''article management'''. {{Templatecategory}} [[Category:Templates]] 2a7yyqodz4ai1955ugmxryep0vrbw8b 14 1776 2892 2010-09-23T04:52:12Z Default 49312 2892 wikitext text/x-wiki This category lists '''stub articles''' on this wiki. A stub is a short article that can be expanded with more information on a subject by any user. To mark an article as a "stub" add the code {{t|stub}} to the end of any article. [[Category:Site maintenance]] [[Category:Content]] sphy4jkg6qay8g4gs0lbp9b84uovsv5 14 2119 3953 2011-01-26T17:16:45Z 127.0.0.1 Category:BlogListingPage 3953 wikitext text/x-wiki __HIDDENCAT__ 2twjmejn56ditxo46hqinfh52nh6flb 14 2018 3829 2010-09-23T04:52:12Z Default 49312 3829 wikitext text/x-wiki [[Category:Community]] lpx2x2zcnr9htig27pqbyrkhw5p1dg3 14 1460 3073 2010-09-23T04:52:12Z Default 49312 3073 wikitext text/x-wiki This is our top-level category; looking at it another way, it is the root category. Ideally, every other category should be a subcategory of at least one other, and every article should be in at least one category; many will fit well into two or more (e.g. location, year, and subject-matter). The "Content" category is intended for all articles about the subject matter of the wiki, whilst "Organisation" is intended for all administrative matters. A full list of existing categories can be found at [[Special:Categories]]. To add a new category to a page, just add <code><nowiki>[[Category:Categoryname]]</nowiki></code> to the end of the article or existing category page. a6duqlk7o0ozh4701to4cynudx2aaf5 14 1509 3731 2010-09-23T04:52:12Z Default 49312 3731 wikitext text/x-wiki Pages in this category have been labelled for deletion. If you wish to discuss the deletion of these pages, please use the [[Category talk:Candidates for deletion|talk page]]. To add a page to this category, type {{t|delete}} on the page. [[Category:Site maintenance]] 5z52v44ten2u9hdlfoyfpfhdheuzjql 14 1884 3076 2010-09-23T04:52:12Z Default 49312 3076 wikitext text/x-wiki There are a few, special cases that {{SITENAME}} speedily deletes articles or files "on sight". This page lists articles using the {{t|speedydelete}} template. Before speedily deleting an article, ensure that it meets the [[Project:Candidates for speedy deletion|criteria for speedy deletion]]. For any discussion of pages listed for speedy deletion, please use the talk page of the article in question. Deleted articles are automatically listed in the [[Special:Log/delete|deletion log]]. See also [[:Category:Pages proposed for deletion]]. [[Category:Site maintenance]] 8u9n03p20jjuoeirsppnfm82v3palzu 14 1802 2763 2010-09-23T04:52:12Z Default 49312 2763 wikitext text/x-wiki Templates used on category pages. {{Templatecategory}} [[Category:Templates]] dhpfdyc6irga9llckq5g26n6d5dc76a 14 1753 3102 2010-09-23T04:52:12Z Default 49312 3102 wikitext text/x-wiki This category may include pages and subcategories related to the active contributors to the site, as seen on [[Special:ListUsers]]. [[Category:Organization]] l509d8z7dk8rdyd598eg9v5c4avutee 14 1851 3655 2010-09-23T04:52:12Z Default 49312 3655 wikitext text/x-wiki This area of the site is for articles regarding the subject of the wiki. Add your own subcategories to this area, and endeavour to categorise all content somewhere under here. {{category}} [[Category:Browse]] owvnpgvgf35ggf20ay2v5xpkxgm8itm 14 1672 3104 2010-09-23T04:52:12Z Default 49312 3104 wikitext text/x-wiki Category can include subcategories and articles that have copyright implications. See also [[:Category:Policy]]. [[Category:Organization]] fajg9j7lgqkg8zb3zek5uti2onr0c4j 14 1817 3089 2010-09-23T04:52:12Z Default 49312 3089 wikitext text/x-wiki This category contains [[Help:Disambiguation|disambiguation]] pages &mdash; navigational aids which list other pages that might otherwise share the same title. If an internal link referred you to one of these pages, you might want to go back and fix it to point directly to the intended page. '''Pages may be included in this category by the addition of the template {{t|disambig}} just before the list of similarly-named pages.''' [[Category:Site maintenance]] f4235q4iagjeq2xtrk28hkia8fhtps6 14 1470 3105 2010-09-23T04:52:12Z Default 49312 3105 wikitext text/x-wiki The category is for pages relating to the [[Forum:Index|Forum]]. [[Category:Organization]] fajulr1lqu9ft7xq8ui2365a6wpiqlw 14 1804 2904 2010-09-23T04:52:12Z Default 49312 2904 wikitext text/x-wiki General wiki templates. Templates in this category will likely have a description on the [[Project:Templates|templates project page]]. If not, they probably deserve one. {{Templatecategory}} [[Category:Templates]] eqn3lswbnowwgcnuhj848959oxrhx73 14 1463 3106 2010-09-23T04:52:12Z Default 49312 3106 wikitext text/x-wiki '''For a full list of help pages, see [[Help:Contents]],''' which includes non-local help pages, automatically transcluded from [[w:c:help|Wikia Help]]. ===About this category=== This category is intended to contain all the '''local''' "help" pages for this Wikia: pages that can help contributors and/or readers. If you find helpful pages that you think should be here, you may include them here just by typing <nowiki>[[Category:Help]]</nowiki> on them. Most, but not all, have "Help:" at the beginning of their page names and are therefore in the "Help" namespace; an automatically-generated list of those can be found at [[Special:AllPages]] by running down the "Namespace" menu. ===Getting more help=== You can also: * Ask questions at the local [[Forum:Index|forum]]. * Talk to one of the [[Special:ListUsers/sysop|site administrators]] or any currently active contributor (the people whose names appear on [[Special:RecentChanges|the "Recent changes" page]]); use their user talk pages. * If you can't find what you need on this wiki, you can seek help at the [[w:|Central Wikia]], especially at the [[w:Forum:Index|Central forum]]. If you still need help, you may want to contact the [[w:Community Team|Wikia Community Team]]. [[Category:Organization]] ttx4xkivqomw46ewxszrlsb1lom57e0 14 1483 3086 2010-09-23T04:52:12Z Default 49312 3086 wikitext text/x-wiki This is a list of topics from [[Forum:Help desk]]. For other sources of help, please see [[:Category:Help]]. [[Category:Forums]] [[category:help]] ko5f3fgcp4svp6hupup5xrd94e0hw3y 14 1815 2784 2010-09-23T04:52:12Z Default 49312 2784 wikitext text/x-wiki Wiki templates used for image-related purposes. {{Templatecategory}} [[Category:Templates]] m91unzgcepgj30zbmx8pckhdeew7e44 14 1814 3846 2010-09-23T04:52:12Z Default 49312 3846 wikitext text/x-wiki '''Images''' on {{SITENAME}}. 0ey6dlw72mwxgaa5o7cq0mmg7gq2hah 14 1976 3656 2010-09-23T04:52:12Z Default 49312 3656 wikitext text/x-wiki A listing of wiki infobox templates. {{Templatecategory}} [[Category:Templates]] 4memc35z8ky1b185wdjm7rnso5cvwol 14 2008 3768 2010-09-23T04:52:12Z Default 49312 3768 wikitext text/x-wiki New pages on the wiki. qytfhjws9p5f2kruqtdn753jf617l4f 14 1892 3111 2010-09-23T04:52:12Z Default 49312 3111 wikitext text/x-wiki #REDIRECT [[:Category:Organization]] 5eiki64e6q04mfgnbsxq3882h6bks20 14 1891 3110 2010-09-23T04:52:12Z Default 49312 3110 wikitext text/x-wiki The area of the site for subcategories and other pages about the wiki's organization, administration, and maintenance. [[Category:Browse]] 4ky9wu9nwwy5hdusxh4zu87dgi226bq 14 1885 3015 2010-09-23T04:52:12Z Default 49312 3015 wikitext text/x-wiki __NOGALLERY__ These pages have been proposed for deletion. Reasons for the deletion are shown on the pages below, or discussed on their talk pages. See also [[:Category:Candidates for speedy deletion]]. [[Category:Site administration]] idtjwv35c1ns14hk29k9nvqulm4oppe 14 2126 3961 2012-09-22T03:15:10Z QATestsBot 269919 Hide 'Pages with broken file links' category, see [http://www.mediawiki.org/wiki/Help:Tracking_categories] 3961 wikitext text/x-wiki __HIDDENCAT__ 2twjmejn56ditxo46hqinfh52nh6flb 14 1517 3108 2010-09-23T04:52:12Z Default 49312 3108 wikitext text/x-wiki This is a list of policy pages for this Wikia. Please also see [[:Category:Help]], and the policy pages on the [[Wikia:Category:Policy|Central Wikia]]. [[Category:Organization]] 7h1qgnj3hc75dpv1492tls067urkeau 14 1849 3101 2010-09-23T04:52:12Z Default 49312 3101 wikitext text/x-wiki Content regarding the administration of this site. [[Category:Organization|Administration]] ayto9kxi7h7jc11oldek67i6dulcdet 14 1850 3107 2010-09-23T04:52:12Z Default 49312 3107 wikitext text/x-wiki This category includes matters that should be examined from time to time by contributors concerned with maintaining and enhancing the quality of this wiki. There may be errors or omissions that need fixing, or pages that clearly need improvement. Whenever there is nothing more to attend to in subcategories or articles below, such contributors are urged to look at: *'''[[Forum:Help desk]]''' *[[Project:Community Portal|The community portal]] *[[Special:Log/protect]] *[[Special:BrokenRedirects]] *[[Special:DoubleRedirects]] *[[Special:Uncategorizedcategories]] *[[Special:Uncategorizedimages]] *[[Special:Uncategorizedpages]] *[[Special:Wantedcategories]] [[Category:Organization|Maintenance]] q7onua7c24kjh6x49u6i4clr85z1gwu 14 2115 3935 2010-09-23T05:52:13Z Spritzfellow 3082342 baktivities 3935 wikitext text/x-wiki Tod Bak plays Commander William T. Riker in the new reboot of Star Trek: The Next Generation mwqciseuwkyc6my4gcgfxftsxfjfnde 3936 3935 2010-09-23T05:54:01Z Spritzfellow 3082342 he lives inside our teeth 3936 wikitext text/x-wiki '''Tod Bak plays Commander William T. Riker in the new reboot of Star Trek: The Next Generation sources confirm former congressman Theoderic Edward Bakula is slated to play "T. Edward Riker" an amalgam of himself and William Todbak Riker from ST:TNG ''' [[Category:loffen magnus]] [[Category:inside-joke]] [[Category:outside-joke]] [[Category:triplicate reserve]] 8qrszlm3cskg4foqwzzzqogf3z8uahm 3959 3936 2012-01-22T15:15:23Z 72.200.87.171 3959 wikitext text/x-wiki [[Category:loffen magnus]] [[Category:inside-joke]] [[Category:outside-joke]] [[Category:triplicate reserve]] bddfctw0zzz0z9dzfh41845swe8y9w6 14 1901 3648 2010-09-23T04:52:12Z Default 49312 3648 wikitext text/x-wiki This category should contain all '''template documentation pages'''. See [[Template:Documentation]] for more details. [[Category:Templates| Documentation]] hhrr5ltyz96ebw3x0pwu6064duhdnkp 14 1766 3109 2010-09-23T04:52:12Z Default 49312 3109 wikitext text/x-wiki This is the base category for '''templates'''. Templates should be placed in appropriate subcategories. See [[Project:Templates]] for collated information on templates. [[Category:Organization]] oc02jujzgftsa1reugmu3bj4jo51jpg 14 1484 2579 2010-09-23T04:52:12Z Default 49312 2579 wikitext text/x-wiki This is a list of topics from the [[Forum:Watercooler|Watercooler]]. [[Category:Forums]] [[Category:community]] ax3t13h4bb6rd3rwohejfj8mvropk6c 15 1508 3079 2010-09-23T04:52:12Z Default 49312 3079 wikitext text/x-wiki '''''Please use this page to discuss pages that have been labelled for deletion.''''' 8si60equsv7gbyedp2cqjrzrgnnmec3 15 1889 3078 2010-09-23T04:52:12Z Default 49312 3078 wikitext text/x-wiki '''''Please use this page to discuss pages that have been labelled for speedy deletion.''''' irwv76z20x3f4ioaq6amqgnrvy0yi45 110 1480 3659 2010-09-23T04:52:12Z Default 49312 3659 wikitext text/x-wiki <div class="forumheader">'''Forums:''' [[Forum:Index|Index]] > {{PAGENAME}}</div><br /> Welcome to the help desk. This is a place to ask for help from other members of this Wikia's community. To add a new topic, please type the title in the box below then click "Add new topic". For other sources of help, please see the [[:Category:Help|help category]]. [[Special:Recentchangeslinked/Category:{{PAGENAME}}|View recent changes for this forum]] | [[:Category:{{PAGENAME}}|View alphabetic list of topics]] ---- <table width="100%"><tr><td><!-- You could create (or transclude) a forum header here --></td><td width="50%"><createbox> break=no prefix=Forum: preload=Template:Forumheader/{{PAGENAME}} buttonlabel=Add new topic </createbox></td></tr></table> <table class="forumlist" width="100%"><tr><th class="forum_title" align="left">Topic</th><th class="forum_edited" align="left">Last Edit</th><th class="forum_editor" align="left">Last Author</th></tr> <forum> namespace=Forum category={{PAGENAME}} shownamespace=false addlasteditor=true historylink=true cache=false </forum></table> [[Category:Forums| Help desk]] [[category:help| Forum:Help desk]] kzu7p3ljhaeutkfylr4gy8mhwbnhdgj 110 1462 3825 2010-09-23T04:52:12Z Default 49312 3825 wikitext text/x-wiki Welcome to the {{SITENAME}} forum! This forum can be used by members of this community to discuss topics related to their wiki. Some communities prefer to use the [[Project talk:Community Portal|Community Portal]] instead for wiki discussions; it's up to you. :''Notes: You may have to [{{fullurl:{{FULLPAGENAME}}|action=purge}} purge] this page to see changes; for more explanation and how to set up new forums, see [[Help:Wiki-style forums]].'' <table class="forumlist" width="100%"><tr><th class="forum_title" align="left">Forum</th><th class="forum_edited" align="left">Last Edit</th><th class="forum_editor" align="left">Last Author</th></tr> <forum> namespace=Forum category=Help desk title=Forum:Help desk shownamespace=false addlasteditor=true </forum> <forum> namespace=Forum category=Watercooler title=Forum:Watercooler shownamespace=false addlasteditor=true </forum> </table> [[Category:Forums|*]] [[Category:Help|Forums]] s624znlphps3m0btb2kpy4gvfj3dbh8 110 1481 3660 2010-09-23T04:52:12Z Default 49312 3660 wikitext text/x-wiki <div class="forumheader">'''Forums:''' [[Forum:Index|Index]] > {{PAGENAME}}</div><br /> Welcome to the Watercooler. This is a place for community discussion about this Wikia. To add a new topic, please type the title in the box below and click "Add new topic". You can include forum pages in categories as for other pages. [[Special:Recentchangeslinked/Category:{{PAGENAME}}|View recent changes for this forum]] | [[:Category:{{PAGENAME}}|View alphabetic list of topics]] ---- <table width="100%"><tr><td><!-- You could create (or transclude) a forum header here --></td><td width="50%"><createbox> break=no prefix=Forum: preload=Template:Forumheader/{{PAGENAME}} buttonlabel=Add new topic </createbox></td></tr></table> <table class="forumlist" width="100%"><tr><th class="forum_title" align="left">Topic</th><th class="forum_edited" align="left">Last Edit</th><th class="forum_editor" align="left">Last Author</th></tr> <forum> namespace=Forum category={{PAGENAME}} shownamespace=false addlasteditor=true historylink=true cache=false </forum></table> [[Category:Forums]] kxnyx1zub0yzc7s4mthq9kj6kx9uyxm 110 1491 3087 2010-09-23T04:52:12Z Default 49312 3087 wikitext text/x-wiki {{Forumheader|Help desk}} <!-- Please put your content under this line. Be sure to sign your edits with four tildes: ~~~~ --> Welcome to the {{SITENAME}} help desk. This is the place to ask for help with anything related to the wiki. There are more help pages in [[:Category:Help]] or you can also ask questions on the talk pages of any of the [[Special:ListUsers/sysop|site admins]]. See [[Help:Forums]] for more on how forums work and how to add new forums to the [[Forum:Index|index]]. pjbfvfr6kx441k0c966iycrftixrdkc 110 1490 3088 2010-09-23T04:52:12Z Default 49312 3088 wikitext text/x-wiki {{Forumheader|Watercooler}} <!-- Please put your content under this line. Be sure to sign your edits with four tildes ~~~~ --> Welcome to the {{SITENAME}} watercooler. This is a place to discuss anything about this wiki - how you use it is up to this community! You can discuss the subject of the wiki, or just the wiki itself, or even add an off-topic area. See [[Help:Forums]] for more on how forums work and how to add new forums to the [[Forum:Index|index]]. ri9qsnsx31bt3namsbtq5hxhl40pw3q 500 2109 3914 2010-09-23T05:22:21Z Spritzfellow 3082342 Created article for blog listing 3914 wikitext text/x-wiki phoiac9h4m842xq45sp7s6u21eteeq1 500 2108 3913 2010-09-23T05:22:11Z Spritzfellow 3082342 tod bak's robot wars 3913 wikitext text/x-wiki [[File:Example.jpg|thumb]][[File:Captcha3333.png|thumb|400px|HOBODANCE]][[File:Ricky_rakoon.jpg|frame|Rikky Rakoon]][[Churdling 4098]] [[Category:Blog posts]] irxhh0wmtec8yic5vz90sws64zsy44k 502 1988 3727 2010-09-23T04:52:12Z Default 49312 3727 wikitext text/x-wiki <bloglist summary="true" timestamp="true" count=50> <title>Recent posts</title> <type>plain</type> <order>date</order> </bloglist> loh1m27hln5mi35oc3rjjp2emdxoxu7